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Art History Essays
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09-04-2009 5:24pm#1EDIT:
Will post my art history essays here for those who are interested
Tagged:1
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Here's the essay I've done, granted it's from last years paper, but considering the Art History examiner folk love to repeat things, I thought I might as well learn a bit about it.
Would appreciate if anybody can give me any input on this essay, I've done nothing for the most part with Art History, so I'm trying to make up for lost time now
2008 Q2. Irish Bronze Age gold artefacts reflect both the design skills and craft skills of their makers.
Discuss this statement with reference to the form, function, decoration and metalworking
techniques of any two named gold objects from this period.
and
Write a brief account of the Bronze Age people in Ireland and on their sourcing of raw
materials for their gold artefacts.
Illustrate your answer.
Marking Scheme
Names : 5
Discussion of example 1
Form, function, decoration and metalworking techniques : 15
Example 2
Form, function, decoration and metalworking techniques : 15
Brief account of Bronze age people, sourcing of raw materials. : 5
Sketches : 10
Total
50
The discovery of metal was a key event in human history, Bronze being the first metal widely used by man and although this new technology arrived in Europe around 4000BC, it did not reach Ireland until around 2000 years later. Settlers from France arrived in Ireland around 2000BC, bringing the knowledge of Bronze working with them and the existing inhabitants learned the trade from them. Slowly the culture of these bronze-working settlers merged with that of the Neolithic Irish and gave birth to the Irish Bronze Age.
At the time of the Bronze Age(2000B.C. - 500B.C.), Ireland was blessed with relatively rich copper deposits, allowing large quantities of bronze to be produced on the island, Copper mixed with tin makes bronze, a harder metal. However, the copper-rich areas did not necessarily coincide with areas that had been important sources of material in the Neolithic era. Thus, the focal points in Ireland moved to regions that in some cases had been relatively devoid of previous activity, for example western Munster.
Along with many other new skills, the Bronze Age brought about many new styles of decoration. In both bronze and gold objects, repoussé was a common method of decoration which involved hammering a design on the reverse of thin metal objects. Compasses were used to apply the decoration on discs, gorget terminals and other circular objects. Incision, much like repoussé, involved cutting into the front of the object to create its design. Twisting and flange twisting was the coiling of thin strips of gold and are commons styles found on objects of this time, such as Torcs.
Gold/Sun Discs are an example of an early Bronze Age gold artefact which represents both the design skills and craft skills of their makers. They were usually thin discs of sheet gold around 11cm in diameter and were often found in pairs. Their decoration featured a cross motif of chevrons and zigzags, which were created using a répoussé technique. A series of ridges also cover a large portion of the disc which were created by hammering and punching the shapes into the sheet gold. Small holes near the centre of the discs suggest that they were stitched to the garments, and possibly worn on the chest. The metalwork techniques involved included cutting a circle from a thin beaten plate of gold.
Sketch
with note, ie. Gold Disc, c.2000BC, found in Tedavnet, Co.Monaghan.
The late Bronze Age is famous for the huge quantity, quality and variety of its goldwork. The work had developed over a period of 1500 years from simple and unsophisticated beginnings, and had now reached the height of its achievement. Although outside influences did play a part in its development, goldwork produced in Ireland during the Bronze Age reached the highest standard known to Europe at the time.
An example of a Late Bronze Age gold artefact which represents the immense level of skill and abbility of its maker are Gorgets. Dating from 700BC, the Gorget is one of Ireland's most impressive Neck Ornaments,and are indeed unique to the island. It consists of a cresent-shaped sheet of gold with disc-terminals at both ends. To create this ornament, a semi-circular band of beaten sheet gold is attatched to the two terminal dics, which are linked together by folded edges. A slit in the lower disc allows the band to slip through and the terminals stitched on with gold wire. As decoration, the Gorget has repoussé ridges with recessed rope moulding. Engraved concentric circles enclose a small concial boss on the terminal discs which truly exemplify the makers design skills.
Sketch
with note, ie. Gold gorget, c.700BC, found in Gleninsheen, Co.Clare.
In conclusion, I believe it is true that Irish Bronze Age gold artefacts represent both the design skills and craft skills of their makers. The extent of which metalworking advanced during these years, and the detail of which their design skills were implemented in the examples shown, it is clear that the craft and metal workers of this time were in no shortage of ability or creativity.0 -
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Thought I'd post up some more essays. Might as well let someone else try get some use out of them too
Q.2 2004
La Tène culture influenced the art of metalwork and stonework in Ireland during the Iron
Age.
(a) Explain what you understand by the term La Tène.
and
(b) Describe and discuss one piece of metalwork and one piece of stonework where this
influence can be seen.
Illustrate your answer.
MARKING SCHEME
A (a) Origin and Meaning
• Celtic Society
• Switzerland – Lake Neuchâtel
• Introduction of Iron
• Definition of La Tene design –
foliage, plant and honeysuckle design
• Mediterranean influence
10
B (b) Metalwork Example
• Form – shape, size, material
• Decoration of surface/design
• Techniques used in construction
• Function
15
C Stonework Example
• Form
• Decoration/Design
• Techniques used in decoration
• Possible function
15
D Sketches 10
Total 50
There is no doubt that La Téne culture had a huge influence on the art of metalwork and stonework in Ireland during the Iron Age. La Tene culture derives its name from around 1858 when one of the earliest Celtic sites was excavated by archaeologists in La Tene, near Lake Neuchatel in Switzerland. Since then the term La Tene has become widely known as the art and culture of the Celts. The Celts themselves are described in written sources as warlike in character, having a love of personal adornment and also having complex relgious beliefs and rituals. Unlike the much of Celtic Europe, Ireland was never invaded by the Roman Empire. However, Ireland idd come under heavy Roman influence as there is much evidence that there was trading between the Irish and the Romans of Britain.
When Iron was introduced to the Celts, it became the primary alternative to bronze. Although it rusted, thus not many Iron artefacts surviving, it proved a much stronger and more durable metal. They were obviously aware of these benefits, finding much use for the metal and ultimately becoming masters of iron metalworking. The La Tene design is largely curvilinear in style and based on plant designs of the Mediterranean. It can sometimes be described as a honeysuckle motif. The free-flowing motifs are considered to be based on nature, rather than copied from it.
The Broighter Collar is an example of La Tene style metalworking that shows clearly the design skill and extent of detail that La Tene culture represents. Dating from 1st Century BC, the Broighter Collar was found in Broighter, Co.Derry. This piece is exquisitely made and consists of two gold co-joined half loops with distinctive fasteners, the piece having a diameter of 19.5cm in total. The techinque involved in making the collar begins with 2 ribbons of sheet gold, onto which a design is made along the centre using the repoussé technique. These decorated ribbons were then rolled into a tubes and shaped into a ring whereby the tubes would then be soldered together. The terminals are made of cylindrical metal drums, decorated again using the repoussé technique. The left drum carries a 'T' shaped tenon and the right drum contains a socket where the tenon fits. The right drum can then be rotated to secure the collar around the neck.
Sketch + seperate close up
with note, ie. Broighter collar, Insular La Tene period, 1st Century BC.
The design of the collar is made up of swirls balanced by leaf motifs and trumpet forms, all in relief. At regular intervals there are raised designs of well-defined spirals which were clipped onto the surface. The remaining surface was etched with fine hatched lines using a compass, with the underneath being left bare. The collar itself is presumed to have belonged to a very important member of society or a religious community, the person having worn it around the neck.
A large number of carved stones were created in the last centuries BC. Probably serving a ritual purpose, or acting as boundary markers, they were up to 2 metres in height. The most famous of these carved during the La Tene period is the Turoe Stone. This artefact is very important in establishing that the Celts settled on this island as the stone cannot have been imported because it was carved from local stone, its weight and bulk defy means of transportation and the work on the stone itself is of master quality, someone who is a professional stone carver and understands the capabilities of his material.
Sketch
with note, ie. Turoe Stone, La Téne period, c. 50BC
Creating the Turoe stone, the craftsperson would use a technique known as finishing which was carefully shaping and smoothening the stone to its wanted size and shape. The design of the stone was produce in low relief, created by cutting away the background of the design - the hard iron tools allowed for very fine carving. The design breaks is broken into four parts with each part displaying different designs, but all cullminating in harmony. The design is free-flowing and curvilinear, displaying abstract leaf forums. There is also a single trinskele in the design, possibly to represent the front of the stone. Numerous trumpet forms and pelta also feature in its design. We can only speculate as to what its function may have been. Some assume that because the stone is phallic in its shape, the stone may have marked the ancient site of a fertility ritual. It may also have acted as a distinguising landmark or boundary marker.
As can be seen, there is much evidence to show that La Tène culture influenced the art of metalwork and stonework in Ireland during the Iron Age. The skills and techniques brought to Ireland by Celtic settlers set standard among craftspeople and truly paved the way for advancing techniques and motifs in Irish art.0 -
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If there is interest, I will try and contribute a few more.. Let me know
Also, I'm not sure if these would be A1 essays, but I presume they would be as they're lenghty enough and fulfil all the requirements laid out by the marking schemes...
We.
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2008
8. Describe and discuss the development of Gothic architecture from the 12th to the 16th Century
making reference to the three illustrations on the accompanying sheet.
In your answer name the buildings and refer to structure, decoration and style.
Illustrate your answer.
The illustrations on the sheet were the Chartres Cathedral, the Rheims Cathedral and the Rouen Cathedral
Q8 Marks
A Discussion of development of Gothic architecture : 15
B Names of the three illustrated cathedrals : 10
C Reference to structure, decoration and style of the illustrated cathedrals : 20
D Sketches : 5
Total : 50
As the twelfth century progressed, the economy grew stronger and towns expanded. Culturally and intellectually, France was the most important country in Euorpe of that time and Paris was its shining light, but other large towns like Chartres, Tours, Oleans and Reims were also renowned centres of learning. Although changes in social and intellectual activity were reflected in the frenzy of building, it was also a time of intense piety, and this deep spirituality was expressed through the medium of art. The thirteenth century is considered the age of the great cathedral as during this time, the cathedral was the most important status symbol of the town. As such, the building of cathedrals became the work of a small number of skilled craftsmen, rather than hundreds of labourers as had been the case during the Romanesque period. The aim of this change being to protect the standard and level of workmanship.
Gothic architecture was the evolution and development of the Romanesque architechure which preceded it. During the Gothic era, many new architechtural techniques were introduced which were much more effective and truly exemplified the extent of which architecture advanced during this time. Crosswise or rib vaulting was a far more effective system of supporting stone roofs in comparison to the Romanesque styles of barrel vaulting and groin vaulting. With the pointed arches, the pressure from the vaults was now concentrated only in small areas at the end of the ribs, eliminating the problem of outward thrust of the rounded arches that had so troubled Romanesque builders . Pressure was easily counteracted by supporting the walls with buttresses and external arches on the higher parts of the wall, called flying buttresses. In addition, buildings were of enormous heights as thinner walls replaced the thick walls used previously, allowing greater space for stained-glass windows and satisfying the idea that the height of a cathedral reflected its closeness to God, as was thought by the people of this time.
The Chartres Cathedral was built on the ruins of the Virgin Mary's shrine, which was damaged terribly during a fire in 1194. The cathedral took over 300 years to build and subsequently changed in styles as the years of building continued. Traces of the original Romanesque structure can be seen on the west facade of the building and the north tower was built nearly 300 years after the south tower was finished in the flamboyant late Gothic style. It was one of the first large buildings to utilise flying buttresses to their full potential and these support the upper nave. Inside, the cathedral is built in the shape of a cross with a central aisle and trancepts forming the arms of the cross. The effect upon entering the cathedral is one of light and space. The slender pillars soar to join the criss-crossed rib vaulting on the roof, the sheer height of the building adding to the beautiful lighting from many stained glass windows. Three large rose shaped windows adorn the cathedral, one on each transept, another over the west door facing the altar.
Sketch
with note, ie. Flying buttress, found on Chartres Cathedral.
The three rose windows as well as the tall pointed lancet windows which surround the church, tell the story of Mary, Jesus and the saints, as does the sculpture around the three doorways. For example, the west front, known as the Royal Portal, is the oldest of these and is so called because of the solemn line of column statues that stand on either side. Tall and linear, they are almost part of the architecture but their costume and drapery is treated in a decorative manner. All life is concentrated in the expressions on the faces of these strange kings and queens whose identity is not fully known, but they appear to represent men and women from the Old Testament.
Built in 1210 after a fire destroyed the original, Rheims Cathedral combined many of the finest Gothic architectural features: flying buttresses, very thin walls and tracery windows. The cathedral was badly damaged during World War 1, but much of its impressive variety of Gothic sculpture survived and the lines of the splendid west façade soar upwards, representing the union between Heaven and Earth. The façade has been greatly restored, but the statues on the sides of the doorways are original. Typical of High Gothic architecture, the portals of the Reims Cathedral are deeply set in porches and are topped by carved triangular open-work pinnacles. The central one of these depicts the crowning of the Virgin.
The space over the door, which would normally have had a carved tympanum, is filled by a rose window. The stone ribs, which form the framework of the large rose window, make a flower-like pattern of radiating lines and it is this feature which led to the name 'rayonnant' being applied to this style. The towers at Reims are open-work -- the buttresses of the nave can be seen through the tower at the level of the rose window. A gallery of huge figures, many times life size, provides almost the only relief to the vertical thrust of the pillars and openings that make up the façade.
Sketch
with note, ie. Ribbed Vault, found in Reims Cathedral.
The Rouen Cathedral was built over a 300 year span and completed in the early 16th century. Famous not only for being later painted by Monet, but mostly because it is an example of Late Gothic architecture and is very much decorated in the 'flamboyant' style. Similar in structure to the Chartres Cathedral, the Rouen Cathedral is built in the shame of a cross, featuring flying buttresses and a four-part groin vaulting as roof support. The tendency was to lighten structure and add decorative elements, which had already been established during the first two periods of French Gothic architecture, was taken to extremes during the Late Gothic period. The facade of the Rouen Cathedral shows how surfaces took on an organic, encrusted appearance where everything was decorated. With features such as a much more complex rose-window framework, it is this flame-like tracery and extravegant decoration which led to this style being called 'flamboyant'.
Its worth noting that I found this essay really hard :F I struggled with choosing what to sketch and finding notes on the Rouen cathedral..
Also wasn't too sure if I was putting too much information down for the other two cathedrals, considering that in the marking scheme it only says 'reference to' and that this essays pretty long compared to the others...
Regardless, here you go.. Gothic Architecture
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Ok, i've learned your above essays, (thank you very much WE, really and truely am in great debt for your efforts) I've copied images and paragraphs from the Hugh Lane site:
Could you please post up a few more essays? perhaps Jack B Yeats or a few other Irish Artists? Or any others, I'll be posting up an Essay on Hugh Lane for those stuck in my situation, attribute something to this fine fine post and get feedback. Thank you very much.
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I'll try(no promise) get back to this and get some more done within next few days..
I actually have 3/4 of an essay on Giotto done since about 3 weeks ago.. I think somebody requested it
But yeah.. I need to get back to art history study altogether as I've totally left it stranded this last while
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I'll try(no promise) get back to this and get some more done within next few days..
I actually have 3/4 of an essay on Giotto done since about 3 weeks ago.. I think somebody requested it
But yeah.. I need to get back to art history study altogether as I've totally left it stranded this last while
Awesome! Can't wait to see it. It would be great if he came up this year.
Your sig makes me emo.. or even gloomier.0 -
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