Western Art History Timeline

40,000 BCE- 1700 CE

Period: 40,000 BCE to 1700

Venus of Willendorf, Prehistoric Period, 24,000-22,000 B.C.E.

24,000 BCE

Venus of Willendorf is one of the most famous lasting works of art in our time. Archeologists have suggested a variety of different meanings for the statues significance. One of them being that it was the “Venus figure” which was representative of signs of fertility, nursing, or procreation. This figure could possibly suggest an esteemed role for women in the society due to their nurturing abilities.

Tuc d'Audoubert Cave Bison Sculpture, Prehistoric, 13,000 BCE

13,000 BCE

The Bison relief sculptures in the Tuc d’Audoubert Cave are considered a form of ritualistic practices and ceremonies during the Prehistoric era. Both bison are supported by a central rock, and markings indicate the bodies were carved using a tool, but the jaw and details on the face and head were used by the sculptor’s hands and nails. The remote location of the bison within the cave suggest they were created for the sole purpose of ritualistic and shamanistic process.

Stonehenge, Neolithic Period, 3,000-1,500 BCE

3000 BCE

Stonehenge is considered one of most architecturally sophisticated monuments in the world. The stones that make it up were carried enormous distances upwards of 150 miles away. To keep the stones in place, a precise system of interlocking joints was created, which was unseen at any point during the Prehistoric period. Theories of its purpose range from a cite of coronation for kings, an astronomical device used to foresee solar events, worship center for ancestors, or a cultural healing center.

Palette of Narmer, Ancient Egypt, 2950 BCE

2950 BCE

The Palette of Narmer contains some of the earliest hieroglyphic inscriptions to ever be found. Depicted on the palette is the king with a the bulbed White Crown of Upper Egypt, while the other side displays the king wearing the Red Crown of Lower Egypt. The palette provides one of the earliest depictions of an Egyptian king. It has been suggested that this palette was used as a royal donation to the temple. This piece exemplifies early Egyptian classic conventions.

Lyre with bull's head, Ancient Mesopotamia, 2,600-2,500 BCE

2500 BCE

The lyre with bull’s head, found in the ancient site of Ur in Mesopotamia is one of the oldest and earliest forms of musical instruments in the world. Depicted on the instrument is a figure of heroic stature grasping two bull’s with the heads of humans. Located in a lower register is the sun god, Shamash, as well as Sargon of Akkad "the Great King" is depicted in an idealistic tone. Due to the location of which they were found, it is believed that played a role in burial ceremonies.

King Menkaure and his Queen, Ancient Egypt, 2490-2472 BCE

2490 BCE

The statue of King Menkaure and his queen is one of the most artistically virtuous pieces from this period. King Menkaure is depicted in a bold, powerful stance, while his queen stands beside him and slightly behind. The use of contrapposto is significant because it shows the innovative style of Egyptian Art, and their intent to create pieces that approach a more life-like quality. The way that the bodies are depicted is a more idealistic vision, but the place and movement of the body contrasts.

Head of Akkadian Ruler, Ancient Mesopotamia, 2250-2200 BCE

2250 BCE

The head of ruler Sargon of Akkad, “The Great King” is depicted in a extremely idealistic tone. In ancient Mesopotamia, local gods were considered the kings of specific regions. The gods of these regions chose human rulers to function for them over their territory. Akkad was the first ruler to unite Sumer and Mesopotamian territories under one regime. His beard and head wear are exquisitely and idealistically sculpted in order to exemplify the gods.

Stele of Hammurabi, Ancient Mesopotamia, 1792-1750 BCE

1792 BCE

The Stele of Hammurabi depicts the story of Hammurabi, King of Babylon, receiving a set of laws from the sun god, Shamash. These laws established a new set of laws regarding both civil and criminal offenses. Although Hammurabi was the King of Babylon, on the relief he is standing while Shamash is sitting down in a thrown of some sort. This is significant because it was as message to the citizens of the lineage of power.

Funerary mask of Tutankhamun, Ancient Egypt, 1323 BCE

1323 BCE

The funerary mask of King Tutankhamun is valued as a groundbreaking masterpiece of Egyptian art. Masks such as these were used during the funeral process of great kings and pharaohs. The casing and masks of these bodies were used as a means to conserve the body. The intricate design of this mask in particular is a breathtaking display of Egyptian craftsmanship and attention to detail. The intricate design, bold colors, and lavish accessories indicate his level of power and adoration.

Anavysos Kouros, Ancient Rome, 530 BCE

530 BCE

The sculpture of Anavysos Kouros displays the shift in a more realistic style of art in Ancient Greece. The stance of the sculpture shows heavy use of contrapposto, and indicates efforts towards an accurate depiction of the human form. These statues were used at grave sites as protectors of great warriors. This depiction of the human form in a free stance was considered as the “Liberation of the Human”. In addition, the use of the “archaic smile” displays human emotion.

Krater with the Death of Sarpedon, Ancient Greece, 515 BCE

515 BCE

The Euphronios Krater, or Sarpedon Krater, is an ancient Greek terra cotta bowl, typically used for mixing wine with water. The scene depicted on the vessel is the death of Sarpedon, son of Zeus. The figures themselves are depicted in naturalistic poses with accurate anatomy. The main significance of this piece was the depiction of the human figure, not so much focused on the functionality of the item.

Dying Warrior, Ancient Greece, 500-490 BCE

500 BCE

The statue of the dying warrior derived from the Temple of Aphaia in Aegina depicts the battle at Troy with the goddess Athena in the center. The dying warrior is depicted in a similar style as the Kouros. Again we see the human form highly idealized. The muscles are sculpted in detail, and we see the use of contrapposto again. His weight is shifted and relies more on his arm on the floor. Also depicted is the infamous “archaic smile”, which was an indication of true human emotion and life.

Riace Warrior, Ancient Greece, 460-450 BCE

460 BCE

The Riace warrior is an astounding sculpture that exemplifies the anatomy. It's considered to be the initial introduction to the contrapposto method. The shift in weight in the stance of the figure display significantly more weight on the right leg, while the left is moving forward. In addition to the transitional stance of the legs; the figures arms are in a position that indicate movement as well. The figure is highly idealized, and shows the immaculate detail and attention to the human form.

Aulus Metellus, Ancient Rome, 80 BCE

80 BCE

Augustus of Primaporta, Ancient Rome, 20 BCE

20 BCE

The statue of Augustus of Primaporta is an immaculate representation of the human form, and also portrays his epic status of power and new ideology he brought to Rome. He stands in a contrapposto pose, and wears incredibly detailed armor called cuirass. In addition he is portrayed in an apotheosis style, which is representative of his divine status. Augustus frequently used sculpture as a form of propaganda and status.

Menorahs and the Arch of the Covenant, Byzantine Empire, 200-300 CE

200

The Menorahs and the Arch of the Covenant ancient wall painting was discovered within the catacombs located underneath Rome. This depiction of the menorahs and the arch of the covenant was hidden within the catacombs due to the strict laws placed on Judaism at the time, which required Judaist traditions to be practiced in private. The Arch of the Covenant was a sacred object in the Judaism religion, and was representative of the laws given down from God.

Basilica of Maxentius and Constantine, Romanesque Era, 308-312 CE

312

The Basilica of Maxentius and Constantine was built under Constantine the Great, and exemplifies the architectural craft of the Romanesque era. The basilica consists of a central nave covered by three groin vaults; leading to an apse containing a bust of Constantine. The basilica was built using arches, and a folded roof which decreased the overall weight of the structure, and also the horizontal forces exerted on the outer arches. It served as a court-house, council chamber, and meeting hall.

Good Shepherd Mosaic, Byzantine, 425-426 CE

425

Located in the Mausoleum of Galla Placidia over the north entrance, the Good Shepherd Mosaic is representative of how Christian art was transforming, and reflected the empire’s admiration towards Christ. Christ is depicted in a more regal and noble tone, which was representative of his newly widespread power during the Byzantine empire. The transition between naturalistic and stylized expression is depicted. The mosaic pattern behind Christ is represents the victory of eternal life over death.

Church of Hagia Sophia, Byzantine Empire, 532-537

532

The church of Hagia Sophia is an infamous architectural form of the Byzantine empire, under the rule of Emperor Justinian I. Hagia Sophia, "Holy Wisdom”, was initially built as a Christian church, but unfortunately when it was later captured by the Ottomans, it was converted into a mosque. Located on all four sides of the church are pencil minarets; these are a distinct architectural structure that was exclusive to the Ottomans and informed viewers who had successfully conquered the church.

The Kaaba, Islamic Period, 631-632

631

The Kaaba is an architectural structure that is representative of the core principles of the Islamic faith. The Islamic practice of prayer occurs five times a day, towards the Kaaba through the help of the Qur’an which guides the direction of prayer. The Kaaba was and still is to this day a holy sanctuary for Muslims. Muslims believe that the Kaaba was constructed by Abraham. When pilgrims would arrive at the Kaaba, they would begin to walk around it in hopes to touch it and pay respects.

Dome of the Rock, Islamic Period, 691 CE

691

The Dome of the Rock, located in Jerusalem, is a shrine built by the Umayyad caliph, Abd al-Malik, and is one of the oldest and most infamous Islamic monuments. The belief behind the significance and building of the Dome was that Muhammad, founder of Islam, arose from the sacred site. The precise significance of the Dome is a debate amongst scholars, but the construction of the Dome appears to predate the emergence of traditions identifying Jerusalem as the site of the Miraj.

The Great Mosque "Masjid-i Jami", Islamic Period, 1051 CE

1051

The Great Mosque or “Masjid-e Jameh) of Isfahan, was built under the Seljuks short lived empire. The mosque is constructed in hypostyle, supported by columns, and was used as a communal space for prayer on Fridays. The size of the mosque is significant because it was built to accommodate an entire community’s population for prayer gatherings. The southwestern Iwan leads to a room covered by a massive dome that functions as a masqura reserved for the sultan and his attendants.

Cathedral of Saint James, Romanesque Era, 1078-1122 CE

1078

The Cathedral of Saint James, or Santiago de Compastelo was built in honor of the Saint James the Great who brought Christianity to the Iberian Peninsula. The cathedral was built on top of the burial site of Saint James, and was one of the landmarks during the pilgrimages. The cathedral was visited by thousands during the pilgrimages in order to pay their respects to Saint James and the introduction of Christianity.

Christ in Majesty, Saint Pierre, Romanesque Era, 1115 CE

1115

The tympanum “Christ in Majesty” on the south portal of the Church of Saint-Pierre depicts the Last Judgement. The narrative depicted is that of Christ during the Last Judgement, which is the moment where he decides whether an individual will proceed to heaven or to hell. Christ is located in the center, and below him are individuals who are awaiting their eternal fate. On the side of Christ are angels and demons, demons in which who are attempting to shift the scale and weight of the soul.

Saint Denis, Gothic Era, 1140-1144 CE

1140

The Church of Saint Denis, France is considered to be the birth place of the Gothic style, in architecture and artistic style. During the pilgrimages churches were a stopping point for pilgrims to pray and pay respects. The Church of Saint Denis, was rebuilt durint this transformation period in order to accommodate pilgrims. The interior architectural structures were altered, and now included larger, open spaces, stain glass windows. Also added was pointed arches and ribbed vaulting.

Royal Portal, West façade, Chartres Cathedral, Gothic Era, 1145-1155

1145

The Royal Portal, located on the west portal of the Chartres Cathedral, is one of the few surviving parts of the church that incorporate high Gothic style. Within the tympanum, a triangular space forming the center of a pediment, depicts Christ in the center, with a mandorla surrounding him, a body halo. On the bottom lintel, Christ is placed on an alter beneath which lies the Virgin. Also included are intricate jamb sculptures, representative of Christ's disciples.

Rose Window, Chartres Cathedral, Gothic era, 1230-1235 CE

1230

Common in Gothic cathedrals, rose windows were created to tell a narrative of the stories of Christ or stories from the Bible. This rose window in particular tells the story of the prophets telling of the birth of Christ, and of Mary. In the center of the window, the Virgin Mary hold baby Jesus while they are surrounded by doves and angels. The 12 prophets encircle them in diamond shaped windows.The beauty of rose windows were meant to be seen from the inside, to exemplify Christ and the Bible.

Dome of Florence Cathedral, Renaissance, Brunelleschi, 1420-1436 CE

1420

Brunelleschi is infamous for being the "founding father of the Renaissance". His architectural innovations made his work to be noticed on a global stand point. The Dome of Florence Cathedral is one of his most adored architectural forms. Upon creation, the Dome was the largest dome in the world, and to this day remains one of the largest concrete domes in the world. The octagonal shape of the dome, was a mastery form of innovative architecture.

David, Renaissance, Donatello, 1446-1460 CE

1446

Donatello's sculpture of David, depicts the narrative of David and Goliath. Donatello's depiction of David is derivative of the early Renaissance. In this piece, we see an introduction to contrapposto, the shifting of body weight, within the legs and the arms. David is portrayed in a cumbersome way, with little emotional in his facial expression. The early Renaissance was experimenting with the idealization of the human form, rather than accurate emotional expression, which is visible here.

Delivery of the Keys to Saint Peter, Perugino, Renaissance, 1481 CE

1481

The Delivery of the Keys to Saint Peter, by Perugino is a significant piece of the Renaissance, due to its use of one-point linear perspective. The innovator who introduced this style of composition was Brunelleschi. Line perspective consists of a horizon line, vanishing point, and orthogonal lines. We can see the use of this here through the placement of the figures, and the architectural structures which guide our eyes towards the center. This practice was a distinct style of the renaissance.

David, Bernini, Baroque, 1623-1624 CE

1623

Bernini's, "David" depicts the narrative of David and Goliath. Bernini's sculpting of David is derivative of the Baroque era. We see a shift away from contrapposto, but rather a focus towards the extravagance of the body and its pose. A distinct feature of the Baroque era is its focus on the extravagant, we are able to see this through the intense emotional facial and body expression. This depiction of David is a drastic shift Renaissance.

The Papal Altar & Baldacchino, Bernini, Baroque, 1633 CE

1633

The Papal Altar and Baldacchino is located in St. Peter’s Basilica. The purpose of the baldachin was to honor St. Peter and mark the area of his tomb. Located on the sculpture on top, Bernini depicts honey bees, which represent the pope’s family. Religious and political figures often used this as a form of exhibiting their power. Also an orb, and across are depicted, which signifies the triumph of the catholic church.

Saint Teresa of Avila in Ecstasy, Bernini, 1647-1652 CE

1647

Saint Teresa of Avila in Ecstasy is another piece which exemplifies the Baroque Era. The extravagance depicted is present through the figure herself, as well as the flow of her gown, and the rays of light behind her. The narrative depicted is of Saint Teresa, who is so immersed by God’s power, that she is in a state of ecstasy, which is representative of the Baroque era as a whole, ecstasy and extravagance. The theatricality of the piece is also exemplified through the rays of light above her.

Twin figures (Ere Ibeji), Yoruba natives, African Art, 1700-1800CE

1700

As we learned during the class lecture, these Ere Ibeji wood carvings were used in order to honor and appease the death of one or both twins during childbirth. In Yoruba Culture, the birth of twins was believed to be lucky; however, this meant it was more likely that one or both twins would die during the birthing process. If that happened, a craftsman would make a carving or sculpture of the deceased twin which would be used as a vessel for the spirit. This way, the spirit could be appeased.

Loma Harp, Libera and Papa New Guinea, 1900 CE

1900

The Loma Harp is dated it back to the 20th century, deriving from a group of indigenous people from Liberia. The object is a traditional form of instrument that these indigenous people created. Some formalities of the instrument overall begins with the oval, hollow end of the instrument. This end was used as leverage and placed on the chest or shoulder so that the individual holding it, could have it project out from their chest and they could play it.

Finial of a spokesperson’s staff (Okyeame Poma), Ashanti Culture, African Art, 1960-1970

1960

The Finial of a spokeperson’s staff from Ghana. The staff was created by the Ashanti culture during the 1960’s and 1970’s. The figure on top of the staff is portrayed holding an egg, this was used as a form of political power and authority. A saying from this culture is, “Political power is like an egg, grasp it too tightly and it will collapse it in your hand, but hold it too loosely and it will fall from your grasp.” It represents how a leader or figure should hold and use his authority.