This document provides an overview of chapters from an art history exam review covering various periods and regions. It summarizes key works and styles from Early Medieval art in Britain including the Sutton-Hoo burial site and illuminated manuscripts. Romanesque art is covered including churches like St. James of Compostela. Gothic art highlights cathedrals such as Chartres and stained glass windows. Early Renaissance art summarizes developments in Italy with masters like Giotto, Donatello, and Botticelli as well as Northern Europe with works by van Eyck and van der Weyden. The document concludes with a brief section on art of the Americas.

1. UNDERSTANDING ART
Exam 3 Review

2. Chapter 10
Early Medieval and Romanesque Art

3. Hinged Clasp
 Early Medieval Art in the British Isles
 Anglo-Saxon metalwork
 Sutton-Hoo Burial
 500s-700s AD
Metal working was the
pride of Anglo-Saxon art. A
hoard of treasures was
found at the Sutton-Hoo
burial site. Grave’s
unidentified occupant was
buried in a 90-foot-long
ship. The vessel had armor
and weapons and luxury
goods for the afterlife.

4. Man
 Gospel of Matthew, Book of Durrow
 Early Medieval Art in the British Isles
 Hiberno-Saxon manuscript
 500s-700s AD
 Borders were very important. The
human figure is very unrealistic and
armless. His robe has a
checkerboard pattern.
 Monks made books in workshops
called scriptoria. Each section began
with a symbol page, a page or
ornamentation and a page of
elaborated text.
 Feet point one direction but face
faces forward.

5. Chi Rho Page
 Early Medieval Art in the British
Isles
 Gospel of Matthew, Book of Kells
 Hiberno-Saxon manuscript
 500s-700s AD
 Nothing particularly Christian
about it.
 Created by a monk, isolated,
wealthy.
 Contains Greek letters chi, rho
and iota that cluster together to
resemble brooches. Human and
animal forms are hidden within the
depiction.
 Christ may be the red-headed

6. St. Gall Monastery Plan
 Under the Holy Roman Emperor
Charlemagne (modern day France).
First emperor since Roman Empire;
forcibly Christianized people in the
East and Muslims in Spain.
 Carolingian Art: renewal of learning,
art and culture via the Catholic church
 800s AD
 Livestock, kitchens, physician,
garden, brewery, school, workshop
and dormitory. Plus a church and
sanctuary.
 Basic layout of a medieval monastery.
 Cloister: central courtyard linked to all
of the monk’s most important

7. Lindau Gospel Book Cover
 Crucifixion with Angels and
Mourning Figures
 Carolingian Art
 800s AD
 Metalwork – figures hammered
from the back
 Very expensive, polished stones
are raised to enhance luster.
 Made before the printing press.
 Contains symbols of the sun and
moon and a calm Classical Jesus
who appears to be merely standing
in front of the cross.

8. Seven-Headed Dragon
 Morgan Beatus
manuscript – colored
bands, Apocalypse, no
realism, woman clothed
in sun, ornamental
style, nightmarish
quality, bold eyes
 Spanish Medieval Art –
mix of Muslim and
Christian
 Mozarabic style –
Muslim style
incorporated into
Christian art
 700s-900s AD

9. Gero Crucifix
 Ottonian Art
 Under the Holy Roman Empire of
Otto I, II, and III from Saxony
(modern day Germany). The
Carolingian Empire had been
divided into 3 parts.
 900s-1000s AD
 Painted wood
 Cologne Cathedral
 Very realistic, relatable, life-size,
human suffering, sagging arms,
thin legs, meant to inspire awe,
empathy and pity.

10. Bronze Doors of St. Michael
 Ottonian Art
 Under the Holy Roman Empire of
Otto I, II, and III from Saxony
(modern day Germany)
 Hildesheim, Germany
 900s-1000s AD
 Most ambitious and complex casting
project since antiquity, scenes from
Creation to the murder of Abel by
Cain,
 Hebrew Bible on one side, New
Testament on the other, opposition of
good and evil, damnation and

11. Christ Washing the Feet of His
Disciples
 Ottonian Art
 Under the Holy Roman Empire of
Otto I, II, and III from Saxony
(modern day Germany)
 900s-1000s AD
 Page in the Gospels of Otto III
Manuscript – large, dramatic hands
and eyes, lavish gold background,
Byzantine style, slender men,
narrative power and expressiveness,
village in background, controlled and
balance architectural canopy.
 Jesus is largest; final meal together,
Peter is hesitant but other disciple is
eager.

12. St. James of Compostela
 Romanesque Art – axial direction, cross shape, nave and
transept meet (called the crossing, marked by a tower),
larger to accommodate more people on pilgrimages, more
chapels, added an ambulatory
 1000s-1100s AD
 Plan and reconstruction
 Spain

13. Interior Nave View of St. James of
Compostela
 Romanesque Art
 1000s-1100s AD
 Spain
 Groin vaults draw eye
upward, barrel and half-
barrel vaults, octagonal
lantern tower for light,
compound pillars at the
corners.
 Buttresses allowed
cathedrals to be larger and
taller

14. Portal Entrance to Church of St. Pierre,
Moissac
 Romanesque Art
 1000s-1100s AD
 Christ in Majesty
 France
 Tympanum – arched
half circle, Second
Coming, Christ is static
but surrounding people
writhe with excitement,
great deal of
ornamentation.
 Second Coming of

15. Last Judgment
 Cathedral of St. Lazare
 Detail of tympanum
carving – Christ in
manderla, flanked by
angels, judges naked
humans, the damned
suffer and the saved
reach Heaven,
architectural depiction,
arches
 Romanesque Art
 1000s-1100s AD
 Autun, France

16. Flight Into Egypt
 Capital from a column
inside St. Lazare
 Romanesque Art
 1000s-1100s AD
 Autun, France
 Circles on bottom may be
wheels from a play for
kids, historiated capital,
charming and doll-like
figures, escaping paranoid
King Herod

17. Christ in Majesty
 Romanesque Art
 1000s-1100s AD
 Large apse painting
 St. Climent, Spain
 Fresco – watercolor on
wet plaster for wall or
ceiling
 Jesus squatted, grand
hand gesture, bold colors,
surrounded by border,
book in hand, alpha and
omega symbols

18. Chapter 11
Gothic Art

19. St. Denis, Interior View of Choir and Ground
Plan
 Gothic Art
 1100s-1300s AD
 France
 Radiating chapels,
ambulatory, rib vaulting,
groin vaults, choir

20. Chartres Cathedral, Reconstruction and Ground
Plan
 Gothic Art
 1100s-1300s AD
 Chartres, France
 Flying buttresses, triforium (middle
floor), colonettes, archivolts, jambs,
rose windows

21. Chartres Cathedral, Exterior
Façade
 Gothic Art
 1100s-1300s AD
 Tympanum

22. Chartres Cathedral, Façade
detail
 Gothic Art
 1100s-1300s AD

23. Chartres Cathedral, Detail of Jamb
Figures
 Gothic Art
 1100s-1300s AD

24. Chartres Cathedral, Interior Nave
View
 Gothic Art
 1100s-1300s AD
 Ribbed groin vaults

25. Chartres Cathedral, Good
Samaritan Stained Glass Window
 Gothic Art
 1100s-1300s AD
 Allegory on sin
and salvation, on
nave aisle,
parable from
Jesus, man helps
other man that
was beaten and
robbed, next to
Creation story

26. Chartres Cathedral, Rose Window and
Lancets
 Gothic Art
 1100s-1300s AD
 Willowy figures

27. Notre-Dame Cathedral, Side
View
 Gothic Art
 1100s-1300s AD
 Paris

28. Reims Cathedral, Façade View
 Gothic Art
 1100s-1300s AD
 France

29. Reims Cathedral, Jamb Figures
 Annunciation and Visitation
 1100s-1300s AD
 Gothic Art
 France

30. Sainte-Chapelle, Nave with Stained
Glass
 Gothic Art
 1100s-1300s AD
 Paris

31. Chapter 12
Early Renaissance Art

32. Virgin in Majesty Altarpiece, Raising
of Lazarus
 Late Medieval Art in Italy
 1300s AD
 Detailed naturalism, still gold
background

33. Virgin and Child Enthroned
 Late Medieval Art in Italy
 1300s AD
 Cimbabue
 Both Byzantine and Renaissance
elements

34. Virgin and Child Enthroned
 Late Medieval Art in Italy
 1300s AD
 Giotto
 Shows an increase in
naturalism from Cimabue’s
version

35. Arena Chapel Frescoes
 Detail of Lamentation
 Late Medieval Art in Italy
 Naturalism, emerging narrative
approach to art
 1300s AD
 Giotto

36. Good and Bad Government
Frescoes
 Vernacular and allegorical scenes, one of the
earliest landscapes since ancient Rome, rival lines
of Popes, artists become individuals, formed
guilds, bustling people large compared to
buildings, shifting viewpoints,
 Late Medieval Art in
Italy
 1300s AD
 Lorenzetti

37. Florence Cathedral Dome
 Brunelleschi –
studied ancient
Roman Pantheon
 Early
Renaissance Art
in Italy
 1400s AD
 Pointed arch,
supported by
internal ribs

38. Church of San Lorenzo in Florence,
Nave
 Brunelleschi – new visual
clarity, mathematical
proportion system,
Classically inspired,
molding, coffers,
semicircular dome,
Corinthian columns
 Early Renaissance Art in
Italy
 1400s AD

39. Medici Palace in Florence, Exterior and
Courtyard
 Michelozzo – rusticated stone
blocks, Classically inspired,
massive in scale, arcade and
frieze in courtyard
 Early Renaissance Art in Italy
 1400s AD

40. David
 Early Renaissance Art in Italy
 1400s AD
 Donatello – first free-standing
nude figure since antiquity,
David slew Goliath, jaunty hat
and boots, young features
accentuate the heroism and
triumph

41. Equestrian Figure of
Gattamelata
 Early Renaissance Art in Italy
 1400s AD
 Donatello –
reminiscent of Marcus
Aurelius, first life-size
equestrian figure
since antiquity, warrior
grown old and tired

42. Bronze Doors of Paradise, Florence
Baptistery
 Ghiberti – scenes from Hebrew bible, begins
with Creation, murder of Abel by Cain, Ghiberti’s
portrait
 Early Renaissance Art in Italy
 1400s AD

43. Trinity Fresco
 Early Renaissance Art in Italy
 1400s AD
 Masaccio – one point
perspective creates illusion of
depth, looming figure of God,
even illumination, dove of the
Holy Spirit, kneeling in prayer

44. Tribute Money
 Early Renaissance Art in Italy
 1400s AD
 Masaccio – atmospheric perspective, Tax collector asks
Peter if Jesus paid temple tax, bold color, arm diagonals,
tension

45. Battle of San Romano
 Uccello – mathematical perspective and spatial
illusionism, for a Medici, fallen soldier, fruit
symbolism
 Early Renaissance Art in Italy
 1400s AD

46. Birth of Venus
 Botticelli – interest in classical subjects of the
Renaissance, heavenly and earthly, physical
and intellectual, for Medici family member,
modest Venus, born of sea foam, blown by
wind God
 Early Renaissance Art
in Italy
 1400s AD

47. February Calendar Page
 Early Renaissance Art in
Northern Europe
 1400s AD
 Limbourg brothers
 New vernacular trends in
art, snow scene, low class
people not in a hovel like
usual, uncouth man,
comfortable farm with fire,
cutaway view of house,
high placement of
horizontal line

48. Merode Altarpiece of
Annunciation
 Early Renaissance Art in Northern Europe
 Anonymous – triptych, vivid colors, Virgin Mary out of time,
private chapel, village scene outside, unfocused eyes
suggest meditation scene, carpenter Joseph, flowers and
water pot, mousetraps
 1400s AD

49. Ghent Altarpiece
 Early Renaissance Art in Northern Europe
 Van Eyck – Adam and Eve, for family chapel (wealthy
patrons), rich colors, figure of God, many different kinds
of people assembled to worship the Lamb
 1400s AD

50. Arnolfini Wedding Portrait
 Early Renaissance Art in
Northern Europe
 Van Eyck – actual wedding
contract, toy dog, convex
mirror, obvious signature,
expensive fur coat and hat,
self-made cloth merchant,
prayer beads, religious scenes
around mirror
 1400s AD

51. Deposition
 Early Renaissance Art in Northern Europe
 Van der Weyden – realism v. abstraction
 1400s AD
 Removal of Christ’s
body from the cross,
press forward into
viewer’s space, clear
anguish, very
poignant

52. A Goldsmith in His Shop
 Christus – secular
vocational portrait,
once thought to be
St. Eligius, convex
mirror, his tools are
present
 Early Renaissance
Art in Northern
Europe
 1400s AD

53. Portinari Altarpiece
 Van der Goes – adoration of the shepherds,
commissioned to be sent across Alps, admired and
emulated in Florence, baby on ground, formal religious
symbols
 Early Renaissance Art in Northern Europe
 1400s AD

54. Chapter 15
Art of the Americas

55. Beaver Effigy Platform Pipe
 Eastern
 100-400 AD
 Back is a pipe, face to
face with beaver,
wide white eyes,
window to the
spiritual world

56. Great Serpent Mound
 East
 Ohio, Eastern
 1000 AD
 Snake could
be swallowing
an egg

57. Stone Effigies
 Eastern, Georgia
(Etowah)
 1300 AD
 Remnants of
pigment, wide all-
knowing eyes,
open mouths
symbolizes oral
tradition,
exaggerate
features denotes
universality

58. Powhatan’s Mantle
 East Coast
 Algonquin
 1600 AD
 Circles could be stars,
man among the
heavens with the
animals linking him,
embroidered with shell,
existence implies they
had the time/wealth to
make it

59. Pueblo Bonito
 Southwest
 Chaco Canyon, New
Mexico
 830-1250 AD
 Not all rooms would have
been inhabited, lack of
fire pits found, probably
for ceremonial purpose,
kiva – subterranean
ceremonial room, done
without draft animals or

60. Seed Jar
 Southwest
 1500 AD
 Cells reminiscent
of Pueblo Bonito,
low-fired ceramic,
complex,
angularity
enhances curve of
jar, positive and
negative space
suggests

61. Cedar Bentwood Chest
 Northwest coast
 1800s AD
 Looks like a bear,
which can stand
on its hind legs
and eats salmon
like the Native
Americans did
 Property of
wealthy high
ranking
individuals

62. Eagle Transformation Mask
 Northwest
 Kwakiutl
 1800s AD
 Link between animal and human, corresponding colors,
used in spiritual winter ceremony, spirits mingle with mortals

63. Battle Scene, Painted Bison
Hide
 Plains
 1800s AD
 Read from right
to left, depiction
tells a story
because they
lack a written
language,
collected by
Lewis and Clark
 Worn over
shoulder to
commemorate

64. Battle with a Cheyenne, Four
Plains
 Plains
 1800s AD
 Pencil on
paper,
elegant use
of color, not
realistic,
flowing
blood

65. Colossal Head
 Olmec
 1200 BC
 Mesoamerica
 Environmentally
diverse, quarried
at distant sites
and transported
to ceremonial
centers, each
face is different

66. Teotihuacan City Center
 Teotihuacan culture
 100 AD
 Mesoamerica
 First truly urban
settlement, stepped
pyramids
 One of the largest in the
world at the time, made
from volcanic stone
 Worshipped many
deities,

67. Temple of the Feathered
Serpent
 Teotihuacan culture
 100 AD
 Talud-tablero
architectural style
 Sloping base
(talud)
 Vertical entablature
(tablero)
 Flat, angular and
abstract

68. Palenque City Center
 Mayan culture
 600s AD
 Mesoamerica
 Administrative
center,
developed the
most advanced
hieroglyphic
system, used
sophisticated
concepts like
zero and place
value

69. Portrait of Pakal the Great
 Mayan culture
 600s AD
 Mesoamerica
 Competing city-states,
elaborate and gory rituals to
appease Gods, Pakal was
found in a sarcophagus,
seemingly suspended between
the underworld and earth,
elongated head because
babies’ heads were bound,
was colorfully painted, ideal

70. Chichen Itza City Center
 Mayan culture
 Mesoamerica
 800s-1200s AD
 Imposing pyramids
 Densely populated
cities
 Most sophisticated
calendar system

71. Founding of Tenochtitlan, Manuscript
Page
 Aztec culture
 Mesoamerica
 1500s AD
 Began after decline of the
Mayans, eagle (God) on
cactus symbolized the end
of their journey, much of
the Empire was destroyed
by the Spanish invasion,
waterways divide city into
four sectors, warriors at
bottom depict victories over
nearby cities

72. Goddess of Coatlicue
 Aztec culture
 1500s AD
 Mesoamerica
 Monumental, powerful
and often unsettling, skirt
of twisted snakes,
goddess has been
decapitated by other
children, though her son
emerges to defend her,
snakes form her head,
commandingly solid

73. Calendar Stone
 Aztec culture
 1500s AD
 Stylized serpents
with flames
 Elements of sun
and night
 Central God with
claws and face;
describes the day
the fifth sun will be
destroyed by an
earthquake, earth
has already been
created 4 other
times

74. Shaman with Drum and Snake
 Diquis culture –
Central America
 Gold image –
excellent goldsmiths
 1500s AD
 Male figure with snake
head covering his
privates, scrolls could
represent Shaman’s
ability to speak with
the animals, gold worn
to inspire fear, it held a
lot of power and
energy

75. Machu Picchu City Center
 Incan culture: South
America
 1500s AD
 One of largest states the
in world, culture center
 Conquest, alliance,
intimidation…
 Linguistically and
ethnically diverse
 Ruler’s summer home
 Produced textiles, fit
offering for the Gods
 Patterns and colors
formed uniform of sorts