- 15.1 Identify and investigate the rich variety of early medieval artistic and architectural styles across Europe, as well as the religious and secular contexts in which they were developed.
- 15.2 Appreciate and understand the themes and subjects used to illustrate early medieval sacred books.
- 15.3 Assess the Carolingian and Ottonian revival of Roman artistic traditions in relation to the political position of the rulers as emperors sanctioned by the pope.
- 15.4 Recognize and evaluate the “barbarian” and Islamic sources that were adopted and transformed by Christian artists during the early Middle Ages.
- 16.1 Explore the emergence of Romanesque architecture—with its emphasis on the aesthetic qualities of a sculptural wall—out of early masonry construction techniques.
- 16.2 Investigate the integration of painting and sculpture within the Romanesque building, and consider the themes and subjects that were emphasized.
- 16.3 Assess the cultural and social impact of monasticism and pilgrimage on the design and embellishment of church architecture.
- 16.4 Explore the eleventh- and twelfth-century interest in telling stories of human frailty and sanctity in sculpture, textiles, and manuscript painting—stories that were meant to appeal to the feelings as well as to the minds of viewers.
- 17.1 Investigate the ideas, events, and technical innovations that led to the development of Gothic architecture in France.
- 17.2 Understand how artists communicated complex theological ideas, moralizing stories, and socio-political concerns, in stained glass, sculpture, and illustrated books.
- 17.3 Analyze the relationship between the Franciscan ideals of empathy and the emotional appeals of sacred narrative painting and sculpture in Italy.
- 17.4 Explore and characterize English and German Gothic art and architecture in relation to French prototypes.
IMAGES (be able to identify these images by title, general time period, medium, and culture of origin)
Check the Facebook group for images related to these chapters:
You should be familiar enough with other images presented in the text and lectures, so as to be able to support explanations of attribution and physical, formal, iconographical, and contextual analysis.