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History of Western Art, Arch and Design > Art History > Flashcards

Art History Flashcards

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1
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. St. George
  2. Donatello
  3. Florence
  4. Early Renaissance (1410-20)
  5. Bronze copy (originally marble)
  6. Similar to Augustus Primaporta (youthful, armor dress); above our heads like a guardian; naturalistic, contrapposto; represents warrior st. (ideals to protect independence) Comparison to Doryphoros
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1
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Oath of the Horatii
  2. Jacques Louis David
  3. France
  4. Romanticism - Enlightenment/Neo-Classicism
  5. Oil on canvas
  6. Revolutionary in terms of content, style (not ornamental); state is more important than the individual (Roman moral); painted in clear, didactic, serious way; Neo-Classicism - a return to the past, doric order arch
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1
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Night Cafe
  2. Vincent van Gogh
  3. French
  4. Post-Impressionist
  5. Oil on canvas
  6. Depressing scene, exaggerated perspective; Van Gogh feels incapable of joining in with people; color to express emotion, greens and reds are unsettling, alienation, eerie, anticipates expressionist art
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2
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. PietÃ
  2. Michelangelo
  3. St. Peter’s Basilica, Vatican City
  4. High Renaissance (1498)
  5. Marble
  6. Image of care, emotion; pyramidal group framed by drapery; out of scale proportions give largeness to woman; emphasized tragedy, ICON, specific ye universal, proofed yet subtle exp of loss
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3
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Merode Altarpiece
  2. Robert Campin
  3. Flanders (Dutch speaking northern portion of Belgium)
  4. Northern Renaissance
  5. Oil paint on panel
  6. Movable/portable; ton of detail (oil); triptych (can be open or closed); for a private individual; religious scene in Flemish home (theological moment in everyday); visual symbolism; perspective; naturalism
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3
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. The Sleep of Reason Produces Monsters
  2. Francisco Goya
  3. Spain
  4. Romanticism (1799)
  5. Etching (Aquatint print)
  6. World is being taken over by the animal sphere; development of etching, produces soft, summato-like gradations; mixing rational and irrational worlds, similar to Fuseli’s Nightmare, subject an intellectual who falls asleep - now subject to irrational dream
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5
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Scene of Christ’s death, “Lamentation”
  2. Giotto
  3. Arena Chapel, Italy
  4. Early Renaissance (1305)
  5. Fresco
  6. Tree is budding, Spring is coming; gesture (all sad about Christ’s death), brings us into the painting with green figure (back turned), center of painting in corner (emphasizes death), sinking/kneeling, foreshortening
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6
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. The Peasant Wedding
  2. Pieter Brueghel
  3. Northern Europe, Flanders
  4. Northern High Renaissance (1567)
  5. Oil on panel
  6. Genre; picture of cacophony, sound, chaos, joy, celebration; narrative from left to right, powerful diagonal; highlights red; zigzag narrative; we are privileged spectators, diagonals lead the eye, celebratory subject - not pretentious
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7
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Expulsion from the Garden of Eden
  2. Masaccio
  3. In the Brancacci Chapel in Florence
  4. Early Renaissance (1425)
  5. Fresco
  6. Can see the lines - everyday they have to remix the paint; suddenly aware of sexuality and exposure (loss of innocence)
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7
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Guernica
  2. Picasso
  3. Spanish
  4. 20th Century, Cubism
  5. Oil on canvas
  6. monochromatic; newspaper like indicates a kind of journalistic account; horror of anonymous killing, devastation across the canvas, in contrast to spanish gov’t, bull and horse both admired in Spain
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8
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. David
  2. Donatello
  3. Florence
  4. Early Renaissance (1450)
  5. Bronze
  6. Made for a private realm; biblical vs. mythological, male vs. female; radical imagination; first nude since antiquity; was Donatello a homosexual? ambiguity in gender, homoeroticism
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8
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. The Jewish Cemetery
  2. Jacob van Ruisdael
  3. Dutch
  4. Baroque (1657)
  5. Oil on canvas
  6. Landscape filled with dramatic elements – sky; ruined church; stream (cold war flowing directly at us); we are not in control of the world; implied drama (one feels the forces of nature and passage of time), comparison to Gorgione’s Tempest, danger, death
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9
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Last Supper
  2. Leonardo da Vinci
  3. Milan
  4. High Renaissance ( 1494—1498)
  5. Fresco/Tempera
  6. extension of actual room; Christ at very center; Leonardo thinks about the nature of sin, betrayal, good and evil; gesture shows ranges of emotion; narrative in a single moment; groups of 3
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9
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. The Blind Leading the Blind
  2. Pieter Brueghel
  3. Northern Europe, Flanders
  4. Northern High Renaissance (1568)
  5. Disemper on linen canvas
  6. Monumentalizes a proverb, Single proverb on large scale; Brueghel is paying attention to the lower class; terribly sympathetic; horizontal picture (stability on left, unstable on right); genre painting (everyday life), many different kinds of blindness represented
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10
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Interior of Arena Chapel
  2. C ommissioned by Enrico Scrovegni, painted by Giotto
  3. Veneto , Italy
  4. Early Renaissance (1305)
  5. Frescos
  6. Contains frescos by Giotto depicting the life of christ, his most influential work, has an overall theme of Salvation
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11
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Sistine Chapel
  2. Michelangelo
  3. Vatican City
  4. High Renaissance ( 1483)
  5. Fresco
  6. Creation of Adam; spark of creation with powerful gesture from god and passive gesture from Adam; recreating idealized sculpture, the perfect race, God energetic, Adam blank(empty)
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12
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Young
  2. Rembrandt
  3. Dutch
  4. Baroque
  5. Oil on panel
  6. Demonstrates play with light, carvagism/chiaroscuro, deep dark gold light, leaves brush strokes, captures fleeting emotions, intimate
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12
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. The Oxbow
  2. Thomas Cole
  3. American
  4. Romanticism (1836)
  5. Oil on canvas
  6. River that hasn’t straightened out all the kinks; indicates the youngness of the river, the land, and the country; freedom/possibility in the west; landscape; untamed vs. manmade nature, landscape seems to continue on forever
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14
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Trinity
  2. Masaccio
  3. Florence
  4. Early Renaissance (1425)
  5. Fresco
  6. Perspective (architecture can be reconstructed); two people who purchased the painting are in it; transience of life, meant to think about death, mary on left, st john on right, god behind
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15
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Medici Palace Courtyard
  2. Artist?
  3. Florence
  4. Early Renaissance
  6. The setting for David, reserved for a select few
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16
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Tempest
  2. Giorgione
  3. Venice
  4. Venetian High Renaissance (1508)
  5. Oil on canvas
  6. Landscape becomes more central; no clear subject; rise of the independent artist inventing something entirely on their own; subject matter less important than the beautiful technique, captures moment before lightening strikes
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17
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. The Luncheon on the Grass
  2. Edouard Manet
  3. French
  4. Impressionist (1862-63)
  5. Oil on canvas
  6. Rejected at the Salon instantly (subject matter is unclear, not a history, not a portrait); considered unfinished, loose application of paint; gesture; , abbreviated technique, minimal stroke, epic scale, loose, based on a Raphael mythological print
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18
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. David
  2. Michelangelo
  3. Florence
  4. High Renaissance (1501-1504)
  5. Marble
  6. Compare to Doryphorous; imminent action; narrative, manu fortis - exaggerated size of hands and head, NUDE vs naked
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19
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. The Man with a Blue Sleeve
  2. Titian
  3. Venice
  4. Venetian High Renaissance (1509)
  5. Oil on canvas
  6. A living portrait, man turning towards us, engaging us; independent artist, showing skill; symphony of blue in background, rise of secular and private painting, dramatic feel of texture
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19
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Stonebreakers
  2. Gustave Courbet
  3. France
  4. Realist
  5. Oil on Canvas
  6. Possibly destroyed in WWII; boy is far too young to be working, old man is far too old (contrast); genre, everyday, compare to Velazquez’s Water Carrier of Seville, very posed, celebration of working class, utterly revolutionary painting
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20
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. St. Teresa of Abaca
  2. Bernini
  3. Cornaro Chapel, Italy
  4. Baroque ( 1647—52)
  5. Marble
  6. Marble seems to be floating, the base is clouds; divine love; directed light with gold bars; woman became a saint within 30 years of her death
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21
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Water Carrier of Seville
  2. Velazquez
  3. Spain
  4. Baroque (1620)
  5. Oil on canvas
  6. Spanish Baroque; monochromatic colors; genre scene; presenting the poorest person in the city in high art (unprecedented); no real subject; sympathy for the underprivileged
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22
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Gattamelata
  2. Donatello
  3. Padua, Italy
  4. Early Renaissance ( 1453)
  5. Bronze
  6. Name in Italian means honey cat; artists want credit for creating individual works of art that people haven’t seen before in the Renaissance, first bronze equestrians since Marcus Aurelius - elevating citizen soldier to status of Roman Emperor
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23
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Self-Portrait
  2. Artemesia Gentileschi
  3. Italian
  4. Baroque (Italian)
  5. Oil on canvas
  6. We are watching her paint the painting we are viewing, leaves part unfinished because she is not finished, leaning out toward us, first woman artist we can legit say a lot about
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25
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Panel from Church of San Francesco
  2. Giotto
  3. Assisi, Italy
  4. Before Early Renaissance
  5. Fresco
  6. St. Francis loved nature; naturalism; gesture; narrative, birds allowed him to organize his thoughts (individualized), icon (pray to), L->R
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26
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Las Meninas
  2. Velazquez
  3. Spain
  4. Baroque (1656)
  5. Oil on canvas
  6. Ambiguous genre scene; we are the king and queen; Velazquez is the highest figure in the room; artists are thinking about optics (edges are slightly blurred); makes us feel part of the painting
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27
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Melencolia
  2. Albert Durer
  3. German
  4. Northern High Renaissance (1514)
  5. Woodcut/engraving (Intaglio)
  6. Prints can be owned by a lot of people, artist is capturing a much larger audience; making negative marks; melancholy (too much bile in body, black and overcast), geniuses become melancholy, associated with creativity (part of the inspiration process)
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27
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Jolly Toper
  2. Little Dutch Masters (Frans Hals)
  3. Dutch
  4. Baroque ( 1628-1630)
  5. Oil on canvas
  6. What is the subject? Thrusting a drink towards us, so we become unavoidable subjects, engagement; about to speak; edges are blurred (optical reality); not finished in terms of old masters; low key color scheme; we are the spectators, without us there is no story
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28
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Arnolfini Wedding
  2. Jan van Eyck
  3. Flanders (northern Europe)
  4. Northern Renaissance ( 1434)
  5. Oil on oak panel
  6. Jan van Eyck’s masterpiece; domestic space; visible symbolism (suggestions of union - faithful dog, sandals cast off, circular mirror, fruit on window = temptation and sexual desire)
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29
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Death of Sardanapalus
  2. Eugene Delacroix
  3. France
  4. Romanticism ( 1827)
  5. Oil on canvas
  6. Claustrophobic, again appears like we are in a tent; blood squirting all over us, swift brushwork, color to evoke emotion, red, people spilling out of canvas
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32
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Jewish Bride
  2. Rembrandt
    3.
    4.
    5.
  3. gesture
34
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Bacchanal of the Andrians
  2. Titian
  3. Venice
  4. Venetian High Renaissance (1523-26)
  5. Oil on canvas
  6. Classical mythology; wine; drunk dudes; Renaissance reviving mythology, viewer becomes Bacchus, some in venetian clothing, lucious/alluring tones, bacchus + adrian love
35
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Young Hare
  2. Albert Durer
  3. German artist
  4. Northern High Renaissance (1502)
  5. Watercolor
  6. ability to represent the natural world/nature
36
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Ginevra de’ Benci
  2. Leonardo da Vinci
  3. Florence
  4. High Renaissance (1474-8)
  5. Oil on panel
  6. naturalistic beauty, attention to nature; practically in conversation with us; high forehead (intellectual qualities); Sfumato (smoky sense, giving three dimensionality); atmospheric perspective (diminishing size and color), light, independence
36
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Hannibal Crossing the Alps (218 BCE)
  2. William Turner
  3. England
  4. Romanticism (1812)
  5. Oil on canvas
  6. Real subject matter is nature itself - sublime and overwhelming; humans are insignificant; vortext (greatest power in nature); abstraction, evoking forces of nature, nature > any human
37
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Death of Wolfe
  2. Benjamin West
  3. America (Spent all career and life in England)
  4. Romanticism - Enlightenment/Neo-Classicism (1770)
  5. Oil on canvas
  6. A big drama, a death picture; modern martyr; sky - dramatic black and blue; we are the privileged spectators; French and Indian War in Quebec, picture about death meant to enhance life/stir your emotions
37
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. The Orchestra
  2. Edgar Degas
  3. French
  4. Impressionist ( 1868—69)
    5.
  5. The subject matter is the orchestra, but the light and color is on the stage; transverse space from bottom to top, we are attracted to color, movement; modern life; Degas is a master of composition
39
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Calling of St. Matthew in Contarelli Chapel
  2. Caravaggio
  3. Contarelli Chapel, Rome, Italy
  4. Baroque (1599-1600) (Italian)
  5. Oil on canvas
  6. Theatrical lighting; ambiguity; diagonal, spotlight highlighting Christ’s gesture; dramatic lighting (chiaro) and darkness (scuro); passive hand; chiaroscuro (dramatic contrast between light and dark) vs sfumato (smokey), brings religious to eryday
40
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Birth of Venus
  2. Botticelli
  3. Florence
  4. Early Renaissance (1486)
  5. T empera on canvas
  6. Elegant, breezy like grace created with light colors and thin paint; Aphrodite; one of the first female nudes painted in the Renaissance, mythological not natural, recreation a classical antiquity painting, first female nude since greece/rome, compare to D’s David
41
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Family of Charles IV
  2. Francisco Goya
  3. Spain
  4. Romanticism (1800)
  5. Oil on canvas
  6. They look very stupid, unflattering; Goya paints himself in the background; Goya is a sympathizer of the French
42
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Jan van Eyck’s Self Portrait
  2. Jan van Eyck
  3. Flanders
  4. Northern Renaissance (1433)
  5. Oil on panel
  6. Artist trying to change his status (intellectual, not a laborer, refined); draws attention to his own intellect; stubble (not idealized); encourages close looking and interaction, intense detail on face
42
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. The Tribute Money
  2. Masaccio
  3. Florence
  4. Early Renaissance (1425)
  5. Fresco
  6. Narrative; moment in history when the gradual income tax was invented; architectural perspective and atmospheric perspective; gesture, vibrant, bright, drapery
42
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Painting of Proverbs
  2. Pieter Brueghel
  3. Northern Europe, Flanders
  4. Northern High Renaissance (1559)
  5. Oil on panel
  6. More than 60 proverbs; moral purpose behind picture (condensing knowledge)
43
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Wall of the School of Athens in Stanza della Segnatura
  2. Raphael
  3. Vatican City
  4. High Renaissance (1509)
  5. Fresco
  6. Philosophy (Plato, Aristotle, etc.); Raphael has brought together all these great philosophers; knowledge contained within a perfect geometry
43
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Portrait of an Assistant
  2. Velazquez
  3. Spanish
  4. Baroque
  5. Oil on Canvas
  6. Influenced by Titian, painted on a trip to Rome in 2 days as practice for Pope, was put in the Pantheon almost immediately, taking people of lower sans and elevating them to a more noble status
45
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Garden of Love
  2. Peter Paul Reubens
  3. Flemish
  4. Baroque (1633) (Flemish)
  5. Oil on canvas
  6. Theatricality; meaningless, stupid title; introducing his new wife to his friends; subject is love (various kinds of love), all happening under Venus; also about sex; mythological guise (past and present affairs); not entirely imaginary, genre
46
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. St. George Relief
  2. Donatello
  3. Florence
  4. Early Renaissance (1410-20)
  5. Bronze copy (originally marble)
  6. Rilievo schiacciato (flattened relief), suggestion of a much greater physical space than is actually there
47
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Mont Sainte-Victoire
  2. Cezanne
  3. French
  4. Post-Impressonist
  5. Oil on canvas
  6. creates a geometry with strokes, giving overall organization; sky is as constructed as the landscape, wanted to capture underlying geometric structure of nature
48
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. A Sunday Afternoon on the Island of La Grande Jatte
  2. Seurat
  3. French
  4. Post-Impressionism, Pointilism
  5. Oil on canvas
  6. Seurat wants to find a science behind color and nature; breaks color into constituent units; not just dots; divisionism ; the world has frozen, unmoving tranquility, similar to egyptian, brilliant colors,
49
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Death of Marat
  2. Jacques-Louis David
  3. French
  4. Romanticism - Enlightenment/Neo-Classicism (1793)
  5. Oil on canvas
  6. Modern martyr - die for your state; subdued, un-heroic portrayal; Marat has become a new Christ (Mike’s Pieta ), similar to greek stele, holds pen in death = devoted to country,, implied action see the results
50
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Return of the Huntsmen
  2. Pieter Bruegel
  3. Northern Europe, Flanders
  4. Northern High Renaissance (1565)
  5. Oil on wood panel
  6. Major subject is landscape; genre scene; composition; depths of nature, proportion; indeterminate time of day; painting allows one to wonder at will; unsuccessful hunters, emaciated dogs, contrast cold with brick of house/fire, bird frees viewr
51
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Impressionist Sunrise (Harbor at LaHab)
  2. Monet
  3. French
  4. Impressionism
  5. Oil on canvas
  6. Gave Impressionism its name, loosely painted, not polished or precise, captures fleeting light on water, interpreting landscapes’ incorporation into an industrialized country
52
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. The River
  2. Monet
  3. French
  4. Impressionist
  5. Oil
  6. Working quickly to capture the transient nature of the scene; Monet is interested in instantaneity, works freely, with a limited compositional focus, captured accurate reflections of reality, chalky clarity, didn’t’ care about space
54
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Self-Portrait in Robes
  2. Rembrandt
  3. Dutch
  4. Baroque
  5. Oil on panel
  6. Using dress, drapery, and robes as props; more than life-sized; completely frontal, more than engagement, confrontational; only head and hands have full light; shadow across the eyes – unapproachability; sense of individuality, old aging skin; impasto (loaded, pasty)
55
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Gare Saint-Lazare
  2. Monet
  3. French
  4. Impressionist (1877)
  5. Oil
  6. Symphony of blue, from blue to dark, limited color palate but sense of incredible vibrancy; making industrial production a thing of beauty; capturing a moment, smoke takes on color of reflections
56
Q
A
  1. Mary Magdalene
  2. Donatello
  3. Italian
  4. Early Renaissance
  5. Wood
  6. An ugly nudity, emaciated face and powerful arms, hair is only clothing, not saintly, head tilt = yearning, illustrates what she has given up
57
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Self-Portrait
  2. Judith Lyester
  3. Dutch
  4. Baroque
  5. Oil on Canvas
  6. Uses painting to present herself for entry into guild, proving she is skilled even as a woman, is mocking them in that she is painting it fine clothes
59
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Painting of Judith in Detroit
  2. Artemesia Gentileschi
  3. Italian
  4. Baroque
  5. Oil on canvas
  6. Portrays a violent and sexual subject (seduction, decapitation, aftermath; here it is the aftermath); use of light and dark ( chiaroscuro); theatricality
60
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. The Entry (of Jesus) into Jerusalem
  2. Giotto
  3. Arena Chapel, Italy
  4. Early Renaissance (1305)
  5. Fresco
  6. Narrative, landscape element creates continuous visual experience; naturalism; left to right movement; donkey - painting asteco (painting after the plaster has dried), Giotto broke from Byzantine style and began creating realistic forms
60
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Garden of Earthly Delights
  2. Hieronymus Bosch
  3. Northern Europe
  4. Northern Renaissance (1500)
  5. Oil on wood panels
  6. Very large; humans are small and insignificant, animals are larger; incredibly imaginative; loss of individuality; dystopia; world gone awry; signals the rise of the independent artist (unique), Paradise, earth, and hell
61
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Jacob Wrestling with the Angel (Vision after the Sermon)
  2. Paul Gauguin
  3. French
  4. Post-Impressionist
  5. Oil on canvas
  6. The event is secondary in the painting; uses color arbitrarily tog ran attention and make clear we are not looking at a naturalistic scene, picture of a vision, sophistication of color
62
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. The Third of May
  2. Francisco Goya
  3. Spain
  4. Romanticism (1808)
  5. Oil on canvas
  6. Heroic defiance; range of emotions, reading the picture left to right, we’re on the side of the murdered victims; complete anonymity on the right; Goya captures moment right before death
63
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Marble Statue of David
  2. Gianlorenzo Bernini
  3. Italian
  4. Baroque ( 1623—24) (Italian)
  5. Marble
  6. Turning marble not only into flesh but putting it into violent motion; implication of the viewer, inspires you to walk around it; condensing actions (similar to Myron’s discus thrower); emphasis on emotion of face (contorted face), vs Mike’s David
64
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Starry Night
  2. Vincent Van Gogh
  3. French
  4. Post-Impressionist
  5. Oil on canvas
  6. Looking down upon the village, we are not a part of it; unbelievably energetic; limited palate, symphony of blue and green; obvious brushstrokes, feel the energy; color as an emotional quality celebrating nature with color
66
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Mona Lisa
  2. Leonardo da Vinci
  3. Florence
  4. High Renaissance (1503-6)
  5. Oil on poplar
  6. Never delivered it to Mona Lisa; already married, directed her attention to us; engages us, ready to speak, loose hair, wild landscape – freedom of mind; sfumato; subtle smile; primordial landscape on eye level
67
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Blinding of Samson
  2. Rembrandt
  3. Dutch
  4. Baroque (1636)
  5. Oil on canvas
  6. First painting Rembrandt paints in Amsterdam; huge painting; made for a private collector; darkened tent, sense of ourselves being blinded because the whole composition is taking place so close to us; descending diagonal; diagonal outside tent, curling toes
68
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Luncheon of the Boating Party
  2. Renoir
  3. French
  4. Impressionist (1880)
  5. Oil on canvas
  6. Renoir is interested in people; a picture about flirting; captures emotion, modern life; leisure time; transience; love interests, create movement, loose color/technique, painting liquidity, no one cares about who they SHOULD be
70
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Judith Slaying Holofernes
  2. Artemisia Gentileschi
  3. Italian
  4. Baroque (Italian)
  5. Oil on Canvas
  6. More gory version of murder, drama, theatrical color and lighting, chiaroscuro (light dark)
71
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. The Bath
  2. Mary Cassatt
  3. American, moved to France
  4. Impressionist
  5. Oil on canvas
  6. She learns from Degas; domestic scene; looking down on the mother and child; flatness and arrangement of shapes; not interested in the creation of space but creation of an intimate scene, satin texture, oblique view (influenced by Degas)
72
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. The Night Watch
  2. Rembrandt
  3. Dutch
  4. Baroque (1642)
  5. Oil on canvas
  6. Extremely large, commissioned; tipping point when Rembrandt’s success began to decline; not a night painting at all; a dramatic success but angered those who were painted in the back; Rembrandt then went into social and economic decline; chiaroscuro, narrativ
73
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. The Haywain
  2. John Constable
  3. English
  4. Romanticism (1821)
  5. Oil on canvas
  6. Peaceful, loving landscape; one can meander through this landscape; subject matter - sky; painting nature; painting resembles a poem, one just wants to look, sensibility to texture, place, weather, et, human 2nd to nature
75
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. The Nightmare
  2. Henry Fuseli
  3. Switzerland
  4. Romanticism (1781)
  5. Oil on canvas
  6. Picture of the imagination, the unknowable, the things that interest Freud; woman has no control of her body or mind - opium, romanticism vs. enlightenment (highly romantic)
76
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. The Slave Ship
  2. William Turner
  3. England
  4. Romanticism (1840)
  5. Oil on canvas
  6. Totality, ship at sea; master of color, impressionists are interested in bright colors and loose brush strokes; nature is more powerful than any ship we can construct; throwing unneeded weight over slaves), color theatrical (color theory), texture spontaneous
78
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Interior of San Francesco
  2. Artists: Cimabue, Giotto, Martini, Lorenzetti, etc
    Architect: Brother Bombadone
  3. Assisi, Italy
  4. Before Early Renaissance
  5. Church
  6. gothic features, pointed arches; marked a point of transition where people started paying more attention to the natural world, combination of romanesque and gothic styles that came to be known as Italian Gothic
79
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Self-Portrait
  2. Albrecht Dürer
  3. Munich
  4. Northern High Renaissance (1500)
  5. Oil on wood panel
  6. Worker of the hand and mind; declaration of his genius; presents himself as a religious icon; central, frontal, symmetrical, intelligent + craftsman ( hand and head)
80
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Joy of Life
  2. Matisse
  3. French
  4. 20th Century (Fauvism)
  5. Oil on canvas
  6. Fauves: follower of Matisse, = redic wild person not painting real art, very large, not articulated, color unleaded, imaginary scene of paradise
82
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Mooning the Pope
  2. Michelangelo
  3. Sistine Chapel, Vatican City
  4. High Renaissance (1483)
  5. Fresco
  6. Bare feet and butt of God; from bible ‘don’t look at my face, you can look at my backside’
83
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. The Bar at the Folies-Bergere
  2. Manet
  3. French
  4. Impressionist (1882)
  5. Oil on canvas
  6. An indoor scene, different from many impressionist works; reflection, not looking at reality; caught in the middle, we are a participant; beautifully painting glassware; her face is tired, not full impressionist but unprepared canvas and abbrev. technique, confusing
84
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Mont Sainte-Victoire
  2. Cezanne
  3. French
  4. Post-Impressionist
  5. Oil on canvas
  6. abstraction; Cezanne extracts nature down to its geometrical elements; famous rock queries next to the mountain; minimal number of strokes to paint the mountain, starts cubism
85
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Third Class Carriage
  2. Honoré Daumier
  3. French
  4. Realist
  5. Oil on canvas
  6. Monochromatic coloring; woman far too old to be nursing rich have wet nurses, claustrophobia, lesser class
86
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Raft of the Medusa
  2. Gericault
  3. France
  4. Romanticism ( 1818—1819)
  5. Oil on canvas
  6. Largest painting we’ve seen, all the light in the background, no chance of getting there; huge diagonal; cold, fleshy feeling; suggests great vastness of the ocean, reaching towards ship, accurate and dramatic, identify w/ humans vs nature (Turner)
87
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Temptation and Expulsion
  2. Michelangelo
  3. Sistine Chapel, Vatican City
  4. High Renaissance (1483)
  5. Fresco
  6. Embedded narratives; ashamed of their nakedness; dead branch–symbolism; makes Adam seem more guilty; conservation of old images, language of gesture
88
Q

1Ti; 2Au; 3Loc; 4Per; 5Med; 6Sig

A
  1. Woman Holding a Balance
  2. Vermeer
  3. Dutch
  4. Baroque ( 1662—1663)
  5. Oil on canvas
  6. Dressed like an aristocrat; main action is the light, not even summato; captured a mood - tranquil, silent; last judgment (belief that our souls will be weighed); camera obscura (instrument that reflects light, frosted glass transforms the colors); genre

History of Western Art, Arch and Design (2 decks)

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