Art History 1 Flashcards by Sarah Wagstaff

Christ and Doubting Thomas

Andrea del Verrocchio

1467-83

bronze

Orsanmichele

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Christ and Doubting Thomas

Made for Merchants Tribunal

Only niche with two statues, Thomas steps out (he is of the earth, Christ is of heaven)

Gilding and classical curls on Thomas

Demonstrates interest in anatomy, texture, use of hands for emphasis and drama

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Bust of a Woman with Flowers

Verrocchio, late 1470s, marble

Same classic curls as Thomas, contrast between that texture and the smoothness of her face

Beautiful hands (different from earlier busts) drape her heart and stomach (feminie gestures)

draping and texture in garment

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David

Verrocchio, bronze, 1473-75

gilded hair (same as Thomas)

Pre-teen boy build

agressive, cocky, beautiful

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Baptism of Christ

Verrocchio and Leonardo Da Vinci

1472-75, oil on panel

Leonardo painted angel and background behind angels

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Baptism of Christ (angels)

Leonardo painted angel looking toward Christ

Painted body to reflect the soul and mind

response to religious event (awe, reverence, love, faith)

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Baptism of Christ

Background above angels (Leonardo)

Opticslly realistic

atmosphereic perspective

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Martyrdom of St. Sebastian

Antonio del Pollaiuolo, mid-1470s, panel

study of anatomy and musculature

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Annunciation

Leonardo, oil on panel, 1470s

Mary sits in corner (she is the foundation of the church)

Mary calm and dignified

reading Bible (symbolizes knowledge of future death), draped in cloth (alludes to the Mass)

meticulous drapery, same tiled floor as the museum the painting now resides in :)

misty harbor background (mysterious, the real world/earth is hazy and plain vs the clear and beautiful divine world)

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Study of drapery

1470s

Similar to the drapery in Annunciation

Used to dip cloth in plaster and let dry to study drapery patterns and looks

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Portrait of Ginevra de’Benci

Leonardo, mid 1470s, oil on panel, Wachington National Gallery

Still intersted in texture as well as how light and shadows touch the face

lines on the face blend into the shadows, become one

Her name means juniper, jumiper bushes behind her

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Portrait of Ginevra de’Benci

Portrait was cut later, botom half would most likely have revealed Ginevra’s hands (similar pose to his Master Verrocchio’s bust)

back of the panel painted to look like porphyry (valuable stone= royalty, Roman allusion)

Juniper sprig + laurel= royalty, classical

Enscription praises her beauty

Beautiful forever: immportalised in her portrait

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Adoration of the Magi

Leonardo, begun 1481, unfinished underdrwing on panel

Madonna and child in very center, create pyramid with figures beside, She is largest (hierarchal scale)

background figures create arch of emotion around her serenity

scene framed by old and young man (youth and wisdom represented (just like Jesus!))

Madonna heavy-lidded and thoughtful (similiar to Verrocchio)

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Adoration of the Magi

Botticelli, panel, early 1480s

Similar figure positioning as Leonardo

Pyramid with Madonna and Child at the head

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Study for Adoration

Leonardo, 1481, pen and ink

Tons of architecture that Leonardo latter omitted

vanishing point would have been behind Mary

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Madonna of the Rocks

Leonardo, early 1480s, oil on panel, alterpiece for Franciscan church (Milan)

figures make pyramid; Jesus blessing John the baptist, but he is lower; Mary’s, angel’s, and Jesus’s hands in a linear formation; This arrangement of the figures is mysterious and up for debate

No vanishing point, background accurate to nature, but it is an imaginary place; sfumato- smoke-like -> lines in figures blend in and disappear into shadows, shading

chiaroscuro- light and dark

Mary’s expression is contemplative, prophetic; ponders and keeps her thoughts in her heart

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Study for Angel (Madonna of the Rocks)

Leonardo, early 1480s, for S. Francesco Grande, Milan

silverpoint on paper

beautiful lines, less texture to hair

eyes knowing, divine: no way a human can decipher what an angel is thinking

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Horseman Trampling Enemy (study for Duke Sforza)

Leonardo, drawing, 1485

largest bronze ever attmpted, bronze eventually striped for cannons, destroyed by French soldiers

enemy underneath horse is a new innovation by Leonardo

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Portrait of Cecilia Gallerani

Leonardo, 1490, oil on panel

Duke Sforza’s mistress, holds white ermine (weasel)

demonstrates her name (Galleroni=weasel) and her lover’s status

Beautiful hands embrace ermine, turned to the side as if looking toward the Duke makes her smile

richly dressed, but not overly blinged-out, classy

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The Last Supper

Leonardo, 1495-98, fresco painting mixed with oil, Refectory in Santa Maria delle Grazie (Dominican), Milan

figures demonstrate the drama, emotion after hearing that one of them will betray Jesus

Jesus is vanishing point, his position makes a small triangle, open hand towards bread (the body)

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Last Supper

Sforza’s coat of arms, mulberries (Sforza’s nickname Il Moro)

Door cut into later (noooooooo!)

Oil and fresco doesn’t stick well to the wall= fresco deteriorating, repaitned/restored often

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Last Supper (John, Peter, Judas)

They sit on Jesus’s right

Judas’s face doesn’t betray his evil, he reaches for the bread at the same time (in the Bible this gesture reveals him to be the traitor)

Leonardo chose to portray the reality of the scene: the disciples do not know he is the traitor yet! He still sits with them.

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Last Supper

Ghirlandaio, 1480, fresco, Church of Ognissanti

Architectual obstacle makes fresco seem crowded (Leonardo solved by moving scene down)

Judas on other side of table, John asleep, Jesus is not in the middle!

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Apostle Matthew (Last Supper)

Leonardo, red chalk, pen and ink, 1495

Livid expression, cannot beleive a disciple will betray Jesus

Classical curly hair like Thomas and David

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*Madonna and Child with Saints Anne and John the Baptist* Leonardo, 1505-7, chalk on paper (cartone (cartoon)) Figures intimately grouped together (John is kinda awkwardly on the outside) Anne points to Heaven Leonardo believed that divinity IS beauty (Anne's face is very beautiful even though she is older)

*Madonna and Child with St. Anne* Leonardo, oil, 1508-13 Jesus plays with a lamb (sacrificial lamb) Cedar tree in background (God planted to bear fruit for followers) John omitted Drapping on Mary very simple Still interested in anatomy (legs) Scene is still intimate: Grandmother, Mother, and Child playing together

*Mona Lisa*, Leonardo, oil, 1503 Wealthy business wife (La Gioconda) 3/4 view, beautiful hands, landscape behind, sides were cut (can still see bases of columns that framed her), level in background uneven intense gaze, but crossed arms almost close her to us sfumato-shadows/shading have replaced lines can't tell her age-she is ageless, eternal pose is strong, pyramid like never got her portrait

Copy of Leonardo's fresco *Battle of Anghiari*, Peter Paul Rubens, 1615 original fresco started in 1503, Sala del Cinquecento (Room of the 1500s), Palazzo dei Priori (Palace of the Priors), Florence War won against Milan, commission Leonardo vs Michelangelo chaos, horse and human studies, "The Beastly Madness of War", faces distorted in emotion experimental fresco fails, so Leonardo leaves without finishing

*Storm Breaking Over a Valley*, drawing, Leonardo, 1500, chalk on white paper destructive power of water

*Star of Bethlehem*, Leonardo, 1505-08, pen and red pencil very detailed

*Vitruvian Man*, Leonardo, 1490, pen and ink Treatsie of Vitruvious circle and square-perfection man imitating perfection

*Studies of Legs with Bones and Tendons*, Leonardo, 1508, pen and ink can see his famous backwards writing (he was left handed) detailed drawings/studies

*Perspectives Views of Domed Churches*, Leonardo, 1490, pen and ink circular designs homage to perfect shape, square is the 2nd most perfect shape together they make beautiful and functional churches none of his designs came to be

*Battle Sudies*, Leonardo, 1503, pen and ink more studies of horses and bodys

*Study of Drapery for Seated Figure*, Leonardo, 1470s, brush and tempera drapery makes volume

*Studies of Water Movemnets*, Leonardo, 1505, pen and ink like braided hair

*Deluge*, Leonardo, 1514-19, black chalk destructive power of water

*Madonna of the Stairs*, Michelangelo, 1489-92, marble relief 17 when he carved it, squashed relief- gets smaller as it goes up (similar to Donatello) madonna is solid, looks away from nursing baby he is muscular, adult, very tense, arm twisted severely little angels above

*Battle of Centaurs and Lapiths*, Michelangelo, 1492, marble tiny, chaotic, realistic not much sign of a centuar- M. is more interested in the human body

*Bacchus*, Michelangelo, 1496-97, marble commissioned for Cardinal Riario, he didn't like it so then it was sold to Jacopo Galli overall look is intoxication very polished- classical influence could be perceived as a warning to drunkenness

*Pieta*, Michelangelo, 1498/99-1500, marble, St. Peter's Vatican, Rome Mary presenting body, she is larger-massive drapery, Jesus on a diagonal his body is perfect, healing- death is not permanent for the son of God, left leg slightly raised ad if he might get up Mary's hand in offering-the sacrifice is complete vs Leonardo's Mary-face is downcast, heavy lidded, inscutible expression, ageless

*David*, Michelangelo, 1501-04, marble, 14ft high, Palazzo Vecchio commissioned for Duomo, then in front of Vecchio, then inside carves in secret, took 3yrs, M. compares himself to David, perfect body censored his junk when put in front of Vecchio, inside it is under an archway and makes everyone feel intimitated

*David*, Michelangelo, marble, 1501-04 Intense gaze: gathering his courage, tense before he fights, sizing up his enemy Prontezza- Florentine power: righteous anger, strength, readiness! Still fear in his eyes...

*Doni Tondo*, Michelangelo, 1503, panel, tempera and oil Celebrate Doni marriage (fertility in marriage) ideal marriage-Mary and Joseph very polished like his statues, poses similar to Leonardo (closeness), unknown nudes in background John the Baptist looks up to the group Mary is muscular, bare arms-strength of the church, sits on the ground-humility original frame- heads of saints around

*Pitti Tondo*, Michelangelo, 1505, marble relief Mary's hand, book, and J's elbow on the book- Christ's flesh/body is the word of God

*Bruges Madonna*, Michelangelo, 1503-04, marble same downcast gaze as pieta and Leonardo's madonnas

*Battle of Cascina*, Michelangelo, 1504-06, engraving of the fresco (destroyed), Palace of the Priors, Florence chosen moment: false alarm and hurried clothes changing experiments in anatomy, complex spirals and twists prontezza- readiness

*Tomb of Julius II*, Michelangelo, 1505, drawing For Old St. Peter's in Rome too ambitious, not completed

*Sistine Chapel Ceiling*, Michelangelo, 1508-12, fresco, Vatican, Rome originally blue, starry sky typology- relating Old Testament to New Testament Old on ceiling expressing emotion throught body, drapery, and hands ignudi- nudes around scenes Julius II's sign around the whole ceiling (acorns)

*Study for Sistine Chapel Ceiling*, Michelangelo, 1508, ink and black chalk geometric study architectural spandrals that made it to the ceiling are painted on

*Drunkenness of Noah*, Michelangelo, Sistine Chapel, fresco older man, yet very muscular pretense to Jesus

*Deluge*, Michelangelo, Sistine Chapel, fresco People finding shelter, trying to row to the ark

*Prophet Zachariah*, Michelangelo, Sistine Chapel, fresco huge drapery like pieta Mary

*Temptation and Expulsion*, Michelangelo, Sistine Chapel, fresco Eve very sensual, muscular arms (like Mary-she is the new Eve) Adam a part of the sin- grasps the tree, also very close to Eve.. Pained expressions in expulsion, Angel's sword on Adam's neck

*Cumaean Sibyl*, Michelangelo, Sistine Chapel, fresco super muscular, head too small

*Creation of Eve*, Michelangelo, Sistine Chapel, fresco God raises his hand and creates Eve from Adam Adam asleep grasping tree stub- proleptic to future sin

*Creation of Adam*, Michelangelo, Sistine Chapel, fresco Adam is perfect- image of God his hand is limp, lifeless vs God's active, strong, life-giving hand God surrounded by angels and possibly the figure behind him is the "idea" of Eve

*God from Creation of Adam*, Michelangelo, Sistine Chapel, fresco hair wispy and powerful can see black dots from fresco technique (chracoal through dotted outline drawing)

*Creation of Sun, Moon, and Plants*, Michelangelo, Sistine Chapel, fresco God is a forboding figure emphasized rear-end drapery makes him larger like pieta mary

*Separation of Light from Darkness,* Michelangelo, Sistine Chapel, fresco spiral of the body

*Libyan Sibyl*, Michelangelo, Sistine Chapel, fresco dramatic twist of the body all the weight on big toe, she is light even thouhh she holds a heavy book

*Study for Libyan Sibyl*, Michelangelo, Sistine Chapel, fresco exaggerated shoulder, tension, muscle especially in big toe

*David Beheading Goliath*, Michelangelo, Sistine Chapel, fresco reversed hierarchal scale

*Sonnet*, Michelangelo, 1510, pen and ink complains about painting the ceiling figure in drawing represents his pose for painting very painful

*Updated drawing of Julius II's tomb*, Michelangelo, 1513 added more statues, arched figure above tomb

*Moses for Julius II's Tomb*, Michelangelo, 1511-16, marble, San Pietro in Vincoli Similar pose as Libyan Sibyl, holding comandments, gaze far off like David, might get up like Pieta Jesus terribilita- formidable power/personality horns on his head- Hebrew word for Moses mistranslated to mean horns really means rays of light

*Captive for Julius II's tomb*, Michelangelo, 1503-16, marble, Louvre "Dying Slave" his only langerous statue band around chest didn't end up on the tomb

*Captive for Julius II's Tomb*, Michelangelo, marble 1513-16, Louvre "Rebellious Slave" arms twisted in tension, make a spiral with his body doesn't make it on tomb

*Model for San Lorenzo facade*, Michelangelo, 1517, wood Classical elements- columns, plastersm pediments, circles modeled after interior of the Pantheon and possible the triple arches of Constantine Never got its facade (money problems and the benefactor died)

*Medici Chapel*, Michelangelo, 1520-34, San Lorenzo New Sacristy (Mausoleum) Eye goes to the window- all of the weight is in the bottom, the journey to heaven is upward and difficult death below, life up walls dense, like Mary's drapery coffered dome with occulus like Pantheon

*Tomb of Giuliano de'Medici*, Michelangelo, marble, 1520-34, Medici Chapel, San Lorenzo, Florence does not resemble Giuliano pose like Moses, elongated neck, beautiful body and face psuedo-empirical armour Looks off to Madonna and Child Night and Day statues

*Night (for tomb of Giuliano de'Medici)*, Michelangelo, 1520-34, marble, Medici Chapel, San Lorenzo, Florence Older women, droopy boobs asleep, yet her body is tense like she is fitfull

*Day (for tomb of Giuliano de'Medici)*, Michelangelo, 1520-34, marble, Medici Chapel, San Lorenzo awake, getting up, more turned away from us sees something in the distance unfinished

*Tomb of Lorenzo de'Medici*, Michelangelo, 1520-34, marble, Medici Chapel, San Lorenzo "The Thinker" Looks to Madonna and Child pseudo-empirical armour more alert than Giuliano dusk and dawn statues

*Dawn (for Lorenzo's tomb)*, Michelangelo, 1520-34, marble, Medici Chapel, San Lorenzo young and beautiful face distorted in sadness troubled awakening

*Dusk (for Lorenzo's tomb)*, Michelangelo, 1520-34, marble, Medici Chapel, San Lorenzo brooding relaxed pose

*Laurentian Library*, Michelangelo, 1524-36, San Lorenzo, Florence weighty stairs 3-flight- middle for the ruler, flanking for the entourage middle stair curved, comes at you like waves, formidable

*Plan for reading room in Library*, Michelangelo, pen and ink, 1525-26 rare triangular book room never made

*Victory*, Michelangelo, 1527-28, marble, for Pope Julius II's tomb, Palazzo Vecchio, Florence "Crossed-leg captive"

*Blockhead captive*, Michelangelo, 1527-28, marble for Pope Julius II's tomb unfinished (hence the Blockhead)

*Christ Giving Keys to St. Peter*, Perugino, 1481, Sistine Chapel, Fresco Tried to make center building the vanishing pt, but not sucessfully all figures the same size, no diversity, Main figures in center very 2-D looking, flat

*Marriage of the Virgin*, Raphael, 1504, oil panel improved master's technique by making vanishing pt the window of light in the building and making the lines in the brickwork thicker main figures still in center, but the group is not static and 2-D like Perugino's (make an arch) interesting foot movement unity in the fore and background

*St. George and the Dragon*, Raphael, 1505-06, oil panel, commissioned for English Embassador from Duke of Urbino horse influenced by Leonardo, but ot as successful figures make an X, lead to the dark cave princess in background George almost bigger than the horse (Marcus Aurelius statue) symetry

*St. George and the Dragon*, Donatello, relief, Orsanmichele, 1415-17 Influenced Raphael: poses, goerge larger than horse differences: princess, dragon is more active

*Madonna of the Meadow*, Raphael, 1505-06, oil panel centrality- main figures in the cener of the panel background clear, not hazy like Leonardo- real Madonns's pose influenced by Leonardo sketch, she holds back Jesus even though he has accepted his fate (touches cross) pyramid shape made with figures

*Cowper Madona*, Raphael, 1505, oil panel Raphael tried to copy Mona Lisa's hand Madonna cups baby like a real mother would, baby grabs at her like a real baby would background clarity madonna's hand acts as foundation for baby's foot

*Portrait of Angelo Doni*, Raphael, 1506, oil panel wedding portrait imposing, stern, wealthy (rings and jewelry) more of the body seen, 3/4 pose background landscape minimal- Angelo the focus

*Portrait of Maddalena Strozzi*, Raphael, 1506, oil panel Wedding portrait Mona Lisa pose, but more embellishment (show wealth) little to no sfumato (shadow) depicted her as older than she is (14 approx.) minimal background foiliage

*Pope Julius II*, Raphael, 1512, oil panel

Belvedere Torso, Ancient Rome

Laocoon, Hellinistic period, Ancient Greece

Belvedere Apollo, Vatican Collection 1511 Roman copy of Greek bronze

*Disputa*, Raphael, 1509-11, fresco, Vatican Library Meditation on the Sacrament/ Theology Linear/vertical progression of alter, host, holy spirit, Jesus, and God holy spirit surrounded by gospels On Earth- Bromante (architect) looking back to the building of New St. Peters Dante with laurel leaves behind Pope (Pope Julius's uncle)

*School of Athens*, Raphael, 1509-11, fresco, Stanza della Segnatura, Vatican philosphers and scholars from antiquity (to inspire Pope with decisons), Apollo and Athena on the sides Plato and Aristotle in center, vanishing pt behind heads Diogenes lounging on steps, Michelangelo added at last minute (seated writing), Raphael looking back to viewers on right side, lots of arches-classical

*Fighting Men*, Raphael, 1511, study for *School of Athens* Influence of Michelangelo

*Expulsion of Heliodorus from the Temple*, Raphael, 1512-14, fresco, Stanza d'Eliodoro, Vatican audience chamber Heliodorus crushed by avenging spirti for taking treasure praying for justice at alter horse much more successful than George's Pope Julius seated high, robed as Pope (left)

*Liberation of St. Peter from Prison*, Raphael, 1512-14, fresco, Stanza d'Eliodoro light and dark, peter in chains, freed by angel fantastic aura around angel sleeping guards

*Mass of Bolsena*, Raphael, 1512-14, fresco, Stanza d'Eliodoro doubt and faith swiss guards pope julius II seated

Atilla the Hun vs Pope Leo I, Raphael, fresco 1512-14, stanza d'eliodoro Paul and Peter floating above

*Sistine Madonna*, Raphael, oil canvas, 1512-14, Sistine Chapel, Vatican Madonna and child flanked by St. Barbara and St. Sixtus Worried expression- future crucifixion cherubs on bottom- reflect real poses by real children