ARH202 Test 1 Flashcards
1
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A
- Limbourg Brothers, October, from Les Tres Riches Heures du Due de Berry, 1413-1416
- Illuminated manuscript done in France during the hundred years war
- influenced by the Italian Renaissance
- 3 Dutch brothers (Limbourg Brothers) worked on this piece
- star calendar = October
- illusion of space receeding back (interest in naturalism)
- tension between secular ideas (interest in what the world looks like) within a religious context
- beginning evidence of more independent spiritual practice
2
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- Lorenzo Ghiberti, Isaac and His Sons, (Gates of Paradise), baptistry, 1425-1452. Museo dell’ Opera del Duomo, Florence
- commision for baptistry doors– won competition
- speaks about the rise of patronage
- use of linear perspective
- interest in humanism – bodies affected by gravity moving the way we would (playing)
- human quality to the stance of the people in the image
- combination of both high and low relief (renders the figures in the foreground)
- multiple narratives taking place at once
- not a completely rational space yet
3
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- Donatello, David, late 1440-1460. Museo Nazionale del Bargello, Florence.
- Donatello was most important Florentine sculptor of the time
- Greco-Roman idea as using nudity to evoke the story of David
- Meddicci commission- wanted to align themselves with this story
- most significant aspect of relating this old testament story with nudity
4
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- Masaccio, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1424- 1427
- most successful display of linear perspective done by Masaccio
- dynamic and compelling relationship between religious and secular patronage
- translates the greco roman groin vaults extremely well
- patrons included in extremely religious context
5
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- Paolo Uccello, Battle of San Romano, ca. 1455 (?)
- commissioned by Meddicci family
- secular image depicting a political victory
- jarring collision between dual forces at work
- interested in linear perspective
- lots of decorative surfaces draw our eyes to the surface of the image rather than to the subject within
- lots of details both in the foreground and background
6
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- Perugino, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy, 1481-1483.
- pope was the patron
- reminder that Saint Peter’s authority came directly from Christ – history of the church and the popes
- people fooling around in the middle setting draws the eye inward and serves as a reminder that people fool around (humanistic way of rendering the story)
- imaginary Greco- Roman wonderland
7
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- Piero Della Francesca, Battista Sforza and Federico da Montefeltro, ca. 1472-1474. Galleria degli Uffizi, Florence.
- revival of portraiturea genre of art from the classical past
- speaks of patronage- only the most wealthy and successful could afford to have a portrait
- profile views of husband and wife is an exact replica of Roman coins
- reference back to Flemish portraiture (speaks about these international cross currents)
8
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A
- Giotto di Bondone, Lamentation, Arena Chapel (Cappella Scrovegni), ca. 1305.
- patronized by a specific person for a specific goal (to find his way to heaven) –> got a relevant artist of the time to paint this
- before the invention of linear perspective –> but there is a degree of shadowing and a sense of receeding into space
- not much of an appearance of deadness
- emotion on Mary’s face conveys the sense of grief
- Christ is cast over to the side and the landscape is the primary part of the image
- landscape evokes the tragedy that has taken place
- figures are foreshortened
- figures shown from the rear to frame Mary, draw us into the narrative, and emphasize the prominence of vision
- naturalism – revival of classical past
- humanizing the event by demonstrating the variety of ways that people grieve
9
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- Bonaventura Berlinghieri, panel from the Saint Francis Altarpiece, San Francesco, Pescia, Italy 1235.
- suggests a collision of influences –> Italo-Bizentine style
- Medieval influence: no sense of a body underneath the robe & flat feet, stylized, ornamental
- stigmata is an evocation of Christ suffering on the cross – spiritual idea
- gold leaf gives a sense of value of the piece and the message it is sending, creates a completely flat lavish background, & is thought to be the “light of heaven”
- various scenes of narration
10
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A
- Cimabue, Madonna Enthroned with Angels and Prophets, from Santa Trinita, Florence, Italy, ca. 1280-1290.
- got the ball rolling for movement towards the Renaissance
- sober and restrained image of religion
- Mary became increasingly prominent in images– takes on this meaningful role as the predecessor and physically becomes this intermediary between us and Christ
- more realism but not at the proto Renaissance yet (Mary appears to be sitting but the image is still stylized and flat, with gold leaf in the background to emphasize lavishness)
11
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A
- Duccio Di Buoninesgna, Virgin and Child Enthroned with Saints, principal panel of the Maesta altarpiece, from the Siena Cathedral, Siena, Italy, 1308-1311
- Response to Giotto’s work in the Arena Chapel
- tension between Italo- Byzantine style and medieval style
- Virgin Mary is the most important figure as she is the largest (Medieval scale technique)
- Baby Jesus has the body of a baby but the face of a fully grown adult
- appearance of Mary sitting on the throne
- baby is making humanistic gestures
- interest in humanism – softness
- interest in naturalism – more realistic fabrics, baby
12
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A
- Ambrogio Lorenzetti, Peaceful City, detail from Effects of Good Government in the City and in the Country, Palazzo Pubblico, Siena, Italy, 1338-1339.
- collisions of interests and styles
- allegory of the effects of good government –rational government practiced in Siena
- captures the reality of what Siena looks like although it is made up
- interest in humanism and naturalism
- evokes a sense of space
- dancing women in foreground – lightness, peace, tranquility (humanism)
- notion of real space – can see people going about daily life within doors and windows
13
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A
- Robert Campin (Master of Flemalle), Merode Altarpiece, ca. 1425-1428
- Northern Renaissance – put oil painting on the map (gave ability to paint extreme detail)
- Campin, Van Eyke, Van der Weyden were all Northern Renaissance artists
- emerging capitalism allows for great wealth increasing the number of patrons allowing the art market to flourish
- Small piece designed for private prayer (almost portable)
- contemporary Flemish city seen through windows locates this religious narrative in the present human moment and helps patrons and their family (and us as viewers) relate (indication of humanism)
- interest in naturalism but not a rational space (figures are too big)
- lots of religious meaning in seemingly common household objects
- beautiful integration of secular and religious concerns
- patrons are in image
14
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A
- Jan Van Eych, Giovanni Arnolfini and His Bride, 1434. Oil on wood
- first Northern Renaissance artist to achieve international fame
- return of interest of portraiture
- signature on wall calls attention to artist
- speaks about the emerging art market (not just for religion)
- patron depicted in this portrait
- regular items that can lend themselves to spiritual meaning
- collision of secular and religious ideas (common objects could be interpreted with religious details)
- interpreted in a variety of different ways
- thought to be wedding portrait
- symbol of wealth and power
- symbol of gender roles
- mirror in the background shows four people breaking the barrier of the surface of the canvas and showing that this space that we occupy is drawn into the composition
15
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A
- Rogier Van Der Weyden, Deposition, Belgium, ca. 1435. Oil on wood Museo del Prado, Madrid
- religious painting that evokes reaction
- painter was Van Eyck’s student —> became his rival
- gold background reminds us of Italo-Byzantine
- extreme naturalism
- attention to material details that is only possible with oil
