Sculptural Depictions of the Godhead and The New Gardner and Barnes

There are 2 assignments:
1. Sculptural Depictions of the Godhead
Jamb figures are just one small part of the overall design of a Medieval church portal. Another significant area occurs right above the doorway, and it is called the tympanum. Very often, the figure of Christ is featured centrally within the tympanum. Starting with what you know about the way that jamb figures have evolved over time (as discussed in Anthony's video and in the course text), take a look at these three images, two of which are drawn directly from tympana, while the third is from a trumeau, and all of which depict the figure of Christ.
One of the themes we're interested in is how the idea of the Christian godhead was changing over time, from remote to accessible.
Start by taking a close look at how Christ is represented in each of the three sculptures. Compare and contrast these depictions, and sequence them in a way that makes sense in terms of how we have been looking at Greek sculpture, but with an eye toward understanding how the godhead is relating to the human observer. Think about what these depictions tell us about a changing relationship between humans and the godhead. In other words, which Christ figure appears to come closest to us as observers, and why? What are the actual formal characteristics of the sculpture that make the Christ figure appear closer to us, or more remote?
Which of the three seems most Archaic/Early Gothic (in other words, first phase of evolution) in the depiction of Christ? Which one feels closer to the Classical/High Gothic (in other words, second phase of evolution)? Which is most Hellenistic/Late Gothic (in other words, third phase of evolution?
Begin by determining a definite order, and name the sculptures when defining that order; then explain, by citing concrete details in the sculptures, why that order makes sense to you. Do not just state that a certain piece seems more open or closed than another, but explain why, using direct reference to the sculptures themselves. Point to specific features. When you are discussing these sculptures, or any works of art, refer to them by name, so we know which one you are talking about. (For example: "In the example of the Autun tympanum, Christ is depicted...")
Also, pretend that you see these sculptures but that your reader cannot: you have to read your description to them over the phone, so that they can visualize what you are saying. This will help you to understand what it means to use rich detail in a specific way in your descriptions, here and throughout the course.
Again, keep in mind that what defines those three periods of Greek (or any) art is not so much stylistic as it is a much broader phenomenon, which starts with spatial behavior, and includes the degree of relative openness/relative closure, idealism/realism, and geometry/location/orientation of the figures, as well as the overall spatial context.
A reminder:
Once again, remember our advice from the Kritios Boy (Discussion 2.1) and Parthenon/Amiens (Discussion 4.1) questions, in which we encourage you to describe the work without negative connotations. Again, you want to appreciate each work for what it is and how it communicates, without implicit judgment or ranking. In addition, you will find that by saying what a work IS, rather than what it IS NOT, may help you in this pursuit. Another way of putting this is to consider how a work behaves; how it is what it is – what it does, rather than what it doesn't do (or "fails" to do). Often, when we talk about what a work doesn't do, it's rooted in an expectation on our part that the work ought to do that thing we believe to be missing.
Your post should be at least two paragraphs long.
2. The New Gardner and Barnes:
Now that you have had a chance to hear, watch, read, and think about the new Gardner addition and the new Barnes Foundation building in Philadelphia, what are your thoughts?
Did the tearing down of the carriage house and movement of objects violate Mrs. Gardner’s will? Was the addition a “reasonable deviation” necessary for the demands of the modern museum-going public?
Do you agree with the move of the Barnes Foundation? Has this made Barnes’ vision more accessible to our generation or does the move represent the triumph of a tourist, income-generating machine that Barnes stood profoundly against?
Post your thoughts, following the instructions below. Your post should be two to three paragraphs long.