Andalusia PAU History of Art cheat sheet

Mesopotamian ziggurat: stepped mud-brick platform with temple on top; Ur-Nammu's ziggurat uses baked-brick facing and buttressed walls; votive statues placed in temples have oversized inlaid eyes as perpetual worship.

Egyptian canon: figure drawn from characteristic viewpoints (frontal shoulders, profile head, profile legs); proportion grid of 18 squares on the standing figure; Amarna period breaks the canon with elongated skull and swollen belly.

Egyptian architecture: post-and-lintel trabeation; pyramid evolution from mastaba to step pyramid (Djoser) to bent pyramid to true pyramid (Giza); rock-cut temples (Abu Simbel) use colossi as facade.

Greek orders: Doric (no base, plain capital, triglyph/metope frieze), Ionic (base, volute capital, continuous frieze), Corinthian (acanthus capital); optical corrections at the Parthenon include entasis and upward curvature of stylobate.

Greek sculpture chronology: Archaic kouros/kore (frontal, Archaic smile) → Severe style (Contrapposto, bronze casting) → Classical (Polykleitos' canon, 7:1 proportion) → Hellenistic (pathos, diagonal composition, Laocoön, Pergamon altar).

Roman engineering: opus caementicium (mortar concrete) permits vaults and domes; barrel vault, groin vault, and hemispherical dome; the Pantheon's 43.3 m dome has a central oculus and coffered interior.

Roman wall painting: four Pompeian styles - incrustation (fake marble), architectural (illusionistic stage sets), ornate (thin colonnettes, small panels), and illusionistic/intricate (fantastic architecture, mythological panels).

Roman portrait: veristic Republican portraiture with wrinkles and age; imperial idealization from Augustus onward; the Augustus of Prima Porta cuirass shows the return of the Parthian standards.

Early Christian basilica: longitudinal plan, wide nave, lower side aisles, clerestory windows, timber roof, apse with semi-dome; Santa Sabina and Old St Peter's are canonical; transept added at St Peter's.

Early Christian centralized buildings: circular or polygonal martyria and baptisteries (Santa Costanza, Lateran Baptistery); mosaics shift from floor to apse and triumphal arch.

Byzantine: pendentive supports dome on square bay (Hagia Sophia); Greek cross plan with central dome; gold-ground mosaics with frontal, elongated figures; iconoclasm (726–843) and later restoration of images.

Hagia Sophia structure: central dome 31 m diameter pierced by 40 windows, buttressed by half-domes and exedrae; interior sheathed in marble revetment and mosaic.

Romanesque: stone barrel vaults and groin vaults, thick walls, small windows, tribune galleries; pilgrimage plan with ambulatory and radiating chapels (Santiago de Compostela); tympanum sculpture with hierarchical scale.

Romanesque sculpture: capitals and tympana with didactic iconography; the Last Judgment portal (Autun, Moissac) organizes figures by hierarchy; drapery in schematic, linear folds.

Gothic structural system: pointed arch, rib vault, flying buttress, and pinnacle transfer loads outward, allowing tall clerestories with stained glass; Chartres and Amiens are classic examples.

Gothic phases: Early Gothic (Notre-Dame de Paris, Laon), High Gothic (Chartres, Reims, Amiens), Rayonnant (Sainte-Chapelle with reduced wall and tracery), Flamboyant (flame-like tracery).

Spanish Gothic and Mudejar: wide hall churches (Santa María del Mar, Barcelona), Isabelline flamboyant ornament, and Mudejar brickwork with horseshoe arches and geometric tilework (Seville's Alcázar).

Linear perspective: Alberti codified one-point perspective in De pictura (1435); vanishing point at the horizon; Brunelleschi's experiments preceded it; Masaccio's Trinity applies it.

Central-plan ideal: Alberti and Bramante favor the circle and Greek cross as perfect forms; Bramante's Tempietto and the original plan for St Peter's use centralized geometry.

Quattrocento sculpture: Donatello revives contrapposto and bronze casting (David, Gattamelata); Ghiberti's Gates of Paradise use shallow relief with perspective.

High Renaissance: Leonardo's sfumato and atmospheric perspective; Michelangelo's terribilità and figura serpentinata; Raphael's balanced compositions (School of Athens).

Venetian Renaissance: colorito over disegno, oil on canvas, glazing; Titian's late loose brushwork; Giorgione's enigmatic poesie; Veronese's pageant-like canvases.

Mannerism traits: elongated proportions, figura serpentinata, artificial color (acid greens, pinks), compressed or ambiguous space, intellectual and erotic subject matter (Parmigianino, Pontormo, Bronzino).

El Greco as Mannerist inheritance in Spain: elongated figures, phosphorescent drapery, dramatic sky, and Byzantine-derived iconography (Burial of the Count of Orgaz).

Architectural treatise culture: Vitruvius rediscovered; Serlio's illustrated books spread the orders; Vignola codified the five orders; Palladio's villas apply temple fronts to domestic architecture.

Baroque rhetoric: diagonal composition, dramatic chiaroscuro (tenebrism), open form, theatrical light, and emotional immediacy; the viewer is positioned as participant.

Caravaggio: tenebrism with a single raking light source, unidealized models, still-life detail; followers include Artemisia Gentileschi, Orazio Gentileschi, and the Utrecht Caravaggisti.

Bernini: marble treated as malleable flesh and drapery; dynamic multi-figure groups (Apollo and Daphne, Ecstasy of Saint Teresa); total work of art combining sculpture, architecture, and light in the Cornaro Chapel.

Italian Baroque ceiling painting: quadratura illusionism and di sotto in sù perspective (Pozzo's Sant'Ignazio, Gaulli's Gesù); breaks the ceiling plane into an opened sky.

Flemish Baroque: Rubens's energetic, fleshy figure style and large workshop; Van Dyck's aristocratic portraiture; still life and genre by Snyders and Teniers.

Dutch Golden Age: Protestant market art - group portraits (Rembrandt's Night Watch), genre scenes (Vermeer, Steen), landscapes (Ruisdael), still lifes; camera obscura debated for Vermeer.

Spanish Baroque: naturalism and religious function; Zurbarán's austere still lifes and monastic figures; Velázquez's loose facture and spatial ambiguity (Las Meninas); Murillo's sentimental religious imagery.

Baroque architecture: curved facades, broken entablatures, undulating plans (Borromini's San Carlo alle Quattro Fontane); Spanish Baroque uses estípite columns and dense surface ornament (Churrigueresque).

Neoclassicism: Winckelmann's ideal of noble simplicity and quiet grandeur; archaeological rigor from Herculaneum and Pompeii; David's Oath of the Horatii uses frieze-like composition and austere color.

Romanticism: emotion over reason, sublime landscape, exoticism, and dramatic color; Géricault's Raft of the Medusa mixes reportage and pyramidal composition; Delacroix's Liberty Leading the People uses allegory in a contemporary event.

Spanish Romanticism: Goya as bridge - tapestry cartoons, then Los Caprichos etchings (aquatint), The Third of May 1808 (modern history painting), and the Black Paintings with impasto and dark ground.

Realism: Courbet's program of showing the unidealized contemporary world (A Burial at Ornans, The Stone Breakers); Millet's peasant labor; Daumier's social lithography; Barbizon landscape and Corot.

Impressionism: plein-air painting enabled by collapsible tubes and portable easels; broken color, visible brushwork, cropped compositions influenced by photography and Japanese prints; 1874 first exhibition.

Impressionist technique: juxtaposed strokes of unmixed color intended for optical mixture; avoidance of black; serial painting of the same motif under changing light (Monet's Rouen Cathedral).

Post-Impressionism: divergent paths - Seurat's pointillism (scientific color division), Cézanne's constructive strokes and passage, Van Gogh's expressive impasto, Gauguin's cloisonnist flat color.

Sculpture and architecture: Rodin's unfinished surfaces and fragmented bodies; cast iron and glass (Crystal Palace, Eiffel Tower) and the Arts and Crafts reaction against industrial production.

Fauvism (1905): pure saturated color used independently of local color; Derain, Matisse (Woman with a Hat); short-lived, centered on the Paris Salon d'Automne.

Cubism: analytic phase (1907–1912) fractures form into facets and limited ochre/gray palette; synthetic phase adds collage, papier collé, and lettering; multiple viewpoints replace single-point perspective.

Futurism: Italian movement from Marinetti's 1909 manifesto; celebrates speed, machines, and war; dynamism rendered through repeated lines of force (Balla, Boccioni, Severini).

Expressionism: German movements Die Brücke (Dresden, 1905) and Der Blaue Reiter (Munich, 1911); harsh color, angular form, psychological anxiety; Kirchner, Nolde, Kandinsky, Marc.

Abstraction: Kandinsky's non-objective painting from 1910 onward; Mondrian's De Stijl neoplasticism with primary colors and black grid; Suprematism's basic geometric forms (Malevich's Black Square).

Dada: anti-art and photomontage, readymades (Duchamp's Fountain), chance operations; Cabaret Voltaire in Zurich, 1916; reaction to World War I rationalism.

Surrealism: Breton's 1924 manifesto; automatism (Masson, Miró) versus veristic dream imagery (Dalí, Magritte, Tanguy); influence of Freud; photographic Surrealism (Man Ray).

Architecture and design: Bauhaus (1919–1933) unites craft and industry; functionalism, tubular steel furniture; International Style with glass curtain walls and white cubic volumes.

Córdoba Mosque: hypostyle hall of double-tiered arches (horseshoe lower, semicircular upper) on columns; successive enlargements; mihrab with Byzantine mosaic cubes; maqsura with intersecting ribbed arches.

Madinat al-Zahra: palace-city outside Córdoba; carved stone bases and capitals, ataurique (arabesque) relief; destroyed in the 11th century; source of the 'Caliphal' style.

Almohad and Almoravid architecture: austerity, brick and rammed earth, horseshoe and pointed arches, muqarnas vaults, sebka lattice; Giralda's Almohad shaft and the Torre del Oro (Seville).

Nasrid Granada: the Alhambra's Comares Tower and Court of the Lions; muqarnas domes, mocárabes, stucco ataurique, epigraphic bands, and water as architectural element; Christian additions by Charles V.

Mudejar: Islamic techniques in Christian buildings - brick, horseshoe arches, alfiz frames, azulejo tilework, wooden artesonado ceilings (Seville's Alcázar, Toledo's synagogues).

Spanish Golden Age painting: Tenebrism arrives with Ribera and Caravaggisti; Velázquez's court portraiture and Las Meninas (1656) stage the act of painting; Zurbarán and Murillo serve religious orders.

Andalusian Baroque: Seville and Granada as centers; Churriguera family's retables; estípite columns; Pedro de Mena and Martínez Montañés polychrome sculpture with real cloth and glass eyes.

Iconography of Andalusian imagery: Immaculate Conception (tunic and mantle, moon underfoot, serpents), Crucifixion with four nails, and Virgen de los Dolores with sword and handkerchief.

Formal analysis vocabulary: line, shape, value, color (hue, saturation, temperature), texture, space, mass, volume, composition (symmetry, balance, rhythm, focal point), scale, and proportion.

Iconography (Panofsky): pre-iconographic description (what is depicted), iconographic analysis (identifying subject via sources), and iconological interpretation (cultural meaning); distinguish attribute from symbol.

Attributes identify figures: keys for Saint Peter, wheel for Catherine, lily for the Annunciation, skull for vanitas or Magdalene, scales for Justice; attribute studies are iconographic evidence.

Technique identification: fresco (pigment on wet lime), tempera (egg binder), oil (slow-drying glazes), encaustic (wax), gouache, etching (acid bites plate), engraving (burin), lithography (grease on stone), and aquatint (tonal).

Sculpture methods: carving (subtractive, stone or wood), modeling (additive, clay or wax), casting (lost-wax bronze), and assemblage; polychromy (estofado, encarnación) is a separate finishing stage.

Architectural analysis: plan type (basilical, centralized, Greek/Latin cross), elevation, support and load system (trabeated versus arcuated), vault types, and the relation of structure to surface decoration.

Contextual method: patronage, intended function and location, audience, economic conditions, religious or political program, and reception; provenance and condition affect interpretation.

Terminology precision: contrapposto, chiaroscuro versus tenebrism, sfumato, impasto, foreshortening, quadratura, trompe-l'œil, ataurique, muqarnas, and estípite; misuse of these terms loses marks.

Mesopotamian ziggurat: stepped mud-brick platform with temple on top; Ur-Nammu's ziggurat uses baked-brick facing and buttressed walls; votive statues placed in temples have oversized inlaid eyes as perpetual worship.

Egyptian canon: figure drawn from characteristic viewpoints (frontal shoulders, profile head, profile legs); proportion grid of 18 squares on the standing figure; Amarna period breaks the canon with elongated skull and swollen belly.

Greek orders: Doric (no base, plain capital, triglyph/metope frieze), Ionic (base, volute capital, continuous frieze), Corinthian (acanthus capital); optical corrections at the Parthenon include entasis and upward curvature of stylobate.

Greek sculpture chronology: Archaic kouros/kore (frontal, Archaic smile) → Severe style (contrapposto, bronze casting) → Classical (Polykleitos' canon, 7:1 proportion) → Hellenistic (pathos, diagonal composition, Laocoön, Pergamon altar).

Roman engineering: opus caementicium (mortar concrete) permits vaults and domes; barrel vault, groin vault, and hemispherical dome; the Pantheon's 43.3 m dome has a central oculus and coffered interior.

Roman wall painting: four Pompeian styles - incrustation (fake marble), architectural (illusionistic stage sets), ornate (thin colonnettes, small panels), and illusionistic/intricate (fantastic architecture, mythological panels).

Roman portrait: veristic Republican portraiture with wrinkles and age; imperial idealization from Augustus onward; the Augustus of Prima Porta cuirass shows the return of the Parthian standards.

Early Christian basilica: longitudinal plan, wide nave, lower side aisles, clerestory windows, timber roof, apse with semi-dome; Santa Sabina and Old St Peter's are canonical; transept added at St Peter's.

Early Christian centralized buildings: circular or polygonal martyria and baptisteries (Santa Costanza, Lateran Baptistery); mosaics shift from floor to apse and triumphal arch.

Byzantine: pendentive supports dome on square bay (Hagia Sophia); Greek cross plan with central dome; gold-ground mosaics with frontal, elongated figures; iconoclasm (726–843) and later restoration of images.

Hagia Sophia structure: central dome 31 m diameter pierced by 40 windows, buttressed by half-domes and exedrae; interior sheathed in marble revetment and mosaic.

Romanesque: stone barrel vaults and groin vaults, thick walls, small windows, tribune galleries; pilgrimage plan with ambulatory and radiating chapels (Santiago de Compostela); tympanum sculpture with hierarchical scale.

Romanesque sculpture: capitals and tympana with didactic iconography; the Last Judgment portal (Autun, Moissac) organizes figures by hierarchy; drapery in schematic, linear folds.

Gothic structural system: pointed arch, rib vault, flying buttress, and pinnacle transfer loads outward, allowing tall clerestories with stained glass; Chartres and Amiens are classic examples.

Gothic phases: Early Gothic (Notre-Dame de Paris, Laon), High Gothic (Chartres, Reims, Amiens), Rayonnant (Sainte-Chapelle with reduced wall and tracery), Flamboyant (flame-like tracery).

Spanish Gothic and Mudejar: wide hall churches (Santa María del Mar, Barcelona), Isabelline flamboyant ornament, and Mudejar brickwork with horseshoe arches and geometric tilework (Seville's Alcázar).

Linear perspective: Alberti codified one-point perspective in De pictura (1435); vanishing point at the horizon; Brunelleschi's experiments preceded it; Masaccio's Trinity applies it.

Central-plan ideal: Alberti and Bramante favor the circle and Greek cross as perfect forms; Bramante's Tempietto and the original plan for St Peter's use centralized geometry.

Quattrocento sculpture: Donatello revives contrapposto and bronze casting (David, Gattamelata); Ghiberti's Gates of Paradise use shallow relief with perspective.

High Renaissance: Leonardo's sfumato and atmospheric perspective; Michelangelo's terribilità and figura serpentinata; Raphael's balanced compositions (School of Athens).

Venetian Renaissance: colorito over disegno, oil on canvas, glazing; Titian's late loose brushwork; Giorgione's enigmatic poesie; Veronese's pageant-like canvases.

Mannerism traits: elongated proportions, figura serpentinata, artificial color (acid greens, pinks), compressed or ambiguous space, intellectual and erotic subject matter (Parmigianino, Pontormo, Bronzino).

El Greco as Mannerist inheritance in Spain: elongated figures, phosphorescent drapery, dramatic sky, and Byzantine-derived iconography (Burial of the Count of Orgaz).

Architectural treatise culture: Vitruvius rediscovered; Serlio's illustrated books spread the orders; Vignola codified the five orders; Palladio's villas apply temple fronts to domestic architecture.

Baroque rhetoric: diagonal composition, dramatic chiaroscuro (tenebrism), open form, theatrical light, and emotional immediacy; the viewer is positioned as participant.

Caravaggio: tenebrism with a single raking light source, unidealized models, still-life detail; followers include Artemisia Gentileschi, Orazio Gentileschi, and the Utrecht Caravaggisti.

Bernini: marble treated as malleable flesh and drapery; dynamic multi-figure groups (Apollo and Daphne, Ecstasy of Saint Teresa); total work of art combining sculpture, architecture, and light in the Cornaro Chapel.

Italian Baroque ceiling painting: quadratura illusionism and di sotto in sù perspective (Pozzo's Sant'Ignazio, Gaulli's Gesù); breaks the ceiling plane into an opened sky.

Flemish Baroque: Rubens's energetic, fleshy figure style and large workshop; Van Dyck's aristocratic portraiture; still life and genre by Snyders and Teniers.

Dutch Golden Age: Protestant market art - group portraits (Rembrandt's Night Watch), genre scenes (Vermeer, Steen), landscapes (Ruisdael), still lifes; camera obscura debated for Vermeer.

Spanish Baroque: naturalism and religious function; Zurbarán's austere still lifes and monastic figures; Velázquez's loose facture and spatial ambiguity (Las Meninas); Murillo's sentimental religious imagery.

Baroque architecture: curved facades, broken entablatures, undulating plans (Borromini's San Carlo alle Quattro Fontane); Spanish Baroque uses estípite columns and dense surface ornament (Churrigueresque).

Neoclassicism: Winckelmann's ideal of noble simplicity and quiet grandeur; archaeological rigor from Herculaneum and Pompeii; David's Oath of the Horatii uses frieze-like composition and austere color.

Romanticism: emotion over reason, sublime landscape, exoticism, and dramatic color; Géricault's Raft of the Medusa mixes reportage and pyramidal composition; Delacroix's Liberty Leading the People uses allegory in a contemporary event.

Spanish Romanticism: Goya as bridge - tapestry cartoons, then Los Caprichos etchings (aquatint), The Third of May 1808 (modern history painting), and the Black Paintings with impasto and dark ground.

Realism: Courbet's program of showing the unidealized contemporary world (A Burial at Ornans, The Stone Breakers); Millet's peasant labor; Daumier's social lithography; Barbizon landscape and Corot.

Impressionism: plein-air painting enabled by collapsible tubes and portable easels; broken color, visible brushwork, cropped compositions influenced by photography and Japanese prints; 1874 first exhibition.

Impressionist technique: juxtaposed strokes of unmixed color intended for optical mixture; avoidance of black; serial painting of the same motif under changing light (Monet's Rouen Cathedral).

Post-Impressionism: divergent paths - Seurat's pointillism (scientific color division), Cézanne's constructive strokes and passage, Van Gogh's expressive impasto, Gauguin's cloisonnist flat color.

Sculpture and architecture: Rodin's unfinished surfaces and fragmented bodies; cast iron and glass (Crystal Palace, Eiffel Tower) and the Arts and Crafts reaction against industrial production.

Fauvism (1905): pure saturated color used independently of local color; Derain, Matisse (Woman with a Hat); short-lived, centered on the Paris Salon d'Automne.

Cubism: analytic phase (1907–1912) fractures form into facets and limited ochre/gray palette; synthetic phase adds collage, papier collé, and lettering; multiple viewpoints replace single-point perspective.

Futurism: Italian movement from Marinetti's 1909 manifesto; celebrates speed, machines, and war; dynamism rendered through repeated lines of force (Balla, Boccioni, Severini).

Expressionism: German movements Die Brücke (Dresden, 1905) and Der Blaue Reiter (Munich, 1911); harsh color, angular form, psychological anxiety; Kirchner, Nolde, Kandinsky, Marc.

Abstraction: Kandinsky's non-objective painting from 1910 onward; Mondrian's De Stijl neoplasticism with primary colors and black grid; Suprematism's basic geometric forms (Malevich's Black Square).

Dada: anti-art and photomontage, readymades (Duchamp's Fountain), chance operations; Cabaret Voltaire in Zurich, 1916; reaction to World War I rationalism.

Surrealism: Breton's 1924 manifesto; automatism (Masson, Miró) versus veristic dream imagery (Dalí, Magritte, Tanguy); influence of Freud; photographic Surrealism (Man Ray).

Architecture and design: Bauhaus (1919–1933) unites craft and industry; functionalism, tubular steel furniture; International Style with glass curtain walls and white cubic volumes.

Córdoba Mosque: hypostyle hall of double-tiered arches (horseshoe lower, semicircular upper) on columns; successive enlargements; mihrab with Byzantine mosaic cubes; maqsura with intersecting ribbed arches.

Madinat al-Zahra: palace-city outside Córdoba; carved stone bases and capitals, ataurique (arabesque) relief; destroyed in the 11th century; source of the 'Caliphal' style.

Almohad and Almoravid architecture: austerity, brick and rammed earth, horseshoe and pointed arches, muqarnas vaults, sebka lattice; Giralda's Almohad shaft and the Torre del Oro (Seville).

Nasrid Granada: the Alhambra's Comares Tower and Court of the Lions; muqarnas domes, mocárabes, stucco ataurique, epigraphic bands, and water as architectural element; Christian additions by Charles V.

Mudejar: Islamic techniques in Christian buildings - brick, horseshoe arches, alfiz frames, azulejo tilework, wooden artesonado ceilings (Seville's Alcázar, Toledo's synagogues).

Spanish Golden Age painting: Tenebrism arrives with Ribera and Caravaggisti; Velázquez's court portraiture and Las Meninas (1656) stage the act of painting; Zurbarán and Murillo serve religious orders.

Andalusian Baroque: Seville and Granada as centers; Churriguera family's retables; estípite columns; Pedro de Mena and Martínez Montañés polychrome sculpture with real cloth and glass eyes.

Iconography of Andalusian imagery: Immaculate Conception (tunic and mantle, moon underfoot, serpents), Crucifixion with four nails, and Virgen de los Dolores with sword and handkerchief.

Formal analysis vocabulary: line, shape, value, color (hue, saturation, temperature), texture, space, mass, volume, composition (symmetry, balance, rhythm, focal point), scale, and proportion.

Iconography (Panofsky): pre-iconographic description (what is depicted), iconographic analysis (identifying subject via sources), and iconological interpretation (cultural meaning); distinguish attribute from symbol.

Attributes identify figures: keys for Saint Peter, wheel for Catherine, lily for the Annunciation, skull for vanitas or Magdalene, scales for Justice; attribute studies are iconographic evidence.

Technique identification: fresco (pigment on wet lime), tempera (egg binder), oil (slow-drying glazes), encaustic (wax), gouache, etching (acid bites plate), engraving (burin), lithography (grease on stone), and aquatint (tonal).

Sculpture methods: carving (subtractive, stone or wood), modeling (additive, clay or wax), casting (lost-wax bronze), and assemblage; polychromy (estofado, encarnación) is a separate finishing stage.

Architectural analysis: plan type (basilical, centralized, Greek/Latin cross), elevation, support and load system (trabeated versus arcuated), vault types, and the relation of structure to surface decoration.

Contextual method: patronage, intended function and location, audience, economic conditions, religious or political program, and reception; provenance and condition affect interpretation.

Terminology precision: contrapposto, chiaroscuro versus tenebrism, sfumato, impasto, foreshortening, quadratura, trompe-l'œil, ataurique, muqarnas, and estípite; misuse of these terms loses marks.