ARH202 Test 2 Flashcards
1
Q
![](https://s3.amazonaws.com/brainscape-prod/system/cm/133/709/911/q_image_thumb.jpg?1659510765)
A
- Leonardo da Vinci, Last Supper, 1495-98
- window behind Jesus could be considered a halo
- Da Vinci experimented a lot –> lead to poor lasting qualities
- taking place in a refectory in a church (where church goers would have eaten)
- wide range of emotions displayed in response to Christ’s announcement that one of his men would betray him
- suggests that Leonardo is interested in individual human beings and how we experiance emotions
- only calm person is Christ
- ideal geometry in image
- Judas would normally be across from christ but he’s not in order to maintain this harmony
- tension between the geometry and the narrative
2
Q
![](https://s3.amazonaws.com/brainscape-prod/system/cm/133/722/497/q_image_thumb.jpg?1659510794)
A
- Raphael, Marriage of the Virgin, 1504
- studied with Perugino
- made important strides during the High Renaissance
- coherence and logic to how this space was rendered
- foreshortening, linear perspective
- shows Raphael’s familiarity with architecture
- story suggests that Mary had a number of suiters
- theory was that the correct suitor would have a rod that would miraculously turn into flowers
- story is rendered so approachable and real in a way while still remaining harmonious and ideal
3
Q
![](https://s3.amazonaws.com/brainscape-prod/system/cm/133/722/794/q_image_thumb.jpg?1659510795)
A
- Michelangelo, David, 1501-04
- Michelangelo was one of the archetypal men of the Renaissance
- story of David and Goliath had strong ties with the city of Florence
- piece was originally commissione to fill in one of the niches of Santa Maria del Flores
- was too good and was placed in the center of the city
- beautiful relaxed composure that evokes humanism and shows an interest in the antique past
- speaks to objects that are outside of itself
- tension between tense expression and relaxed body
4
Q
![](https://s3.amazonaws.com/brainscape-prod/system/cm/133/723/122/q_image_thumb.jpg?1659510795)
A
- Michelangelo, Creation of Adam, detail ceiling of Sistine Chapel, 1511-12
- bold interpretations to depict this scene
- beautiful use of humanism and naturalism to reimagine the scene in a way that it had never been imagined before
- languid beauty to the forms of the bodies
- very few specific references to Christ
- woman who God has his arm around is a mystery (Ever or Mary)
5
Q
![](https://s3.amazonaws.com/brainscape-prod/system/cm/133/723/325/q_image_thumb.jpg?1659510798)
A
- Tintoretto, Last Supper, 1594
- Venetian artist
- art that was used by the power and authority of the Church ot teach lessons
- the table is receeding into space at an angle
- raking light coming out of Christ’s head creating a stark contrast between lit figures and darkness
- tension between the two light sources
- imaging Christ and his party in a real life setting
- suggests a very different time period (mannerism)
6
Q
![](https://s3.amazonaws.com/brainscape-prod/system/cm/133/723/477/q_image_thumb.png?1659510800)
A
- Grunewald, Isenheim Altarpiece, 1510-15
- from the chapel of the Hospital of Saint Anthony, Isenheim Germany
- monastic hospital
- gives itself over to the potential wretchedness of the human body
- commissioned by the Catholic Church
- Northern Renaissance
- referring to important Christian narratives
- lamb is a representation of God
- interest in the horrible graphic expression of the human body
- underscores what it might be like to experiance these narratives
- tension between hope and tragedy
7
Q
![](https://s3.amazonaws.com/brainscape-prod/system/cm/133/723/692/q_image_thumb.jpg?1659510803)
A
- Durer, Fall of Man, 1504 engraving
- prints of his were widely sold and distributed
- he was in a way a self promoter
- he had people working on his behalf to make his work available to the common audience
- through his graphic prints he was able to have a cosmopolitan influence
- biblical story based on classical sculpture
- two figures are depicted with a spectacular contraposta
- idealized figures that reference the classical past
- many of the animals scattered about the image are part of the Northern inclination towards realism but also carries other meaning
8
Q
A
- Bernini, Ecstasy of St Teresa, 1645-52
- Cornaro Chapel, Santa Maria dell Vittoria, Rome
- suggest physical conversion and spiritual moment of ecstacy
- she’s in a moment of passion
- amazing visualization of an extremely dramatic vision
- window permeating yellow light over the scene creating this feeling of what the light of heaven would look like
- the drama and tension depicted is what Barouche is all about
9
Q
![](https://s3.amazonaws.com/brainscape-prod/system/cm/133/804/263/q_image_thumb.jpg?1659511001)
A
- Caravaggio, Calling of St. Matthew, 1597-1601
- introduces other elements of baroque art
- piece from the counter reformation
- everyday humble scene
- the meaningfulness of these stories cut across all areas and classes
- dramatic use of lights and darks
10
Q
![](https://s3.amazonaws.com/brainscape-prod/system/cm/133/804/395/q_image_thumb.jpg?1659511001)
A
- Ribera, Martyrdom of St. Philip, 1639
- Spain was falling and its time in the spotlight was gone but the Kings wanted to stay in power
- Martyrdom scenes were popular during this time period, pulling the viewer into the space
- extreme physicality
- everyday type setting
- dramatic diagonal created by the cross
11
Q
![](https://s3.amazonaws.com/brainscape-prod/system/cm/133/805/962/q_image_thumb.jpg?1659511004)
A
- Velazquez, Las Meninas, 1656
- royal commission
- Diego had the confidence to shift the conversation of what it meant to do royal portraiture
- this painting is about Diego and what he can do
- very complex painting that’s all about seeing and redefining portraiture
12
Q
![](https://s3.amazonaws.com/brainscape-prod/system/cm/133/807/098/q_image_thumb.jpg?1659511004)
A
- Rubens, Elevation of the Cross, 1610
- Rubens is arguably the most well known artist of this time period working in Flanders
- well patronized artist
- extremely successful in social circles and had lots of prominent friends and patrons
- widely traveled
- product of the international style
- pan European style
- benefited from studying different styles
- official painter to Spanish Court
- painting depicts a subject that we have seen before
- painted just after nearly a decade of study and travel in Italy
- very much a part of this Baroque dynamism and theatricality
- elevation of the cross with Christ nailed to it
- emphasizes the physicality of the bodies occupying space
- creates a dramatic diagonal that engages the eye across the whole piece
- appears as if the top of the cross is tipping backwards and the bodies in the foreground are about to fall out of the piece
- twist and turn of bodies creates a dynamic space
- dramatic contrast of lights and darks
- story filled with tension and emotion
- different emotions expressed
- dramatic narrative
13
Q
![](https://s3.amazonaws.com/brainscape-prod/system/cm/133/808/230/q_image_thumb.jpg?1659511020)
A
- Rembrandt, Anatomy Lesson of Dr. Tulp, 1632
- Rembrandt himself was interested in civic portraiture
- group of surgeons interested in commissioning a civic prortrait
- Dr. Tulp is the chief Resident issuing a lesson on medicine to a group of students
- everbody is dressed the same
- foreshortened cadaver that is diagonally placed across the canvas
- light source enlivens the composition
- everyone is taking notes and paying attention–> placing importance on erudition
- references his own practice by suggesting that an artist has an intimate and deep understanding of the body similar to a doctor
14
Q
![](https://s3.amazonaws.com/brainscape-prod/system/cm/133/808/602/q_image_thumb.jpg?1659511021)
A
- Vermeer, Woman Holding a Balance, 1664
- light source coming in through the window highlights her
- desk full of gold jewelry
- plain setting with religious feeling to it
- last judgement painting on the wall
- symbolism of the objects
- weights represent the balance of sin
- weight of the clothing evident
15
Q
![](https://s3.amazonaws.com/brainscape-prod/system/cm/133/809/352/q_image_thumb.jpg?1659511023)
A
- Poussin, Et in Arcadia Ego, 1655
- classical world
- rational stability
- 3 shepherds and an angel of death
- idealized bodies
- foreshortening
- motion emotion of baroque