Art History 2 Flashcards
Portrait of Julius II, Raphael, 1512
finished months before his death
acorns on chair (family)
green walls-hope-> crossed keys in wallpaper
red robes- sacrificial color- charity- Mary
white- purity
beard- wouldn’t shave until French were defeated
Sistine Madonna, Raphael, 1513, Piacenza Convent
Madonnaand Child, Sixtus, St. Barbara
Sixtus looks like Julius II- beard, oak leaves of coat
Madonna floating, but coming towards us- great liason between earth and heaven, many emotions- fear, sorrow, resolution, focus, hope
baby- pose like Michelangelo Sistine fresco, grasping cloth like Pieta
angels based on real children
papel tiara at head of coffin/ledge-tradition after death
Donna Velata (Veiled Woman), Raphael, 1513
more mysterious, slightly turned from us, softer lines- Mona Lisa
no background
more ideal, dream-like
pearl in hair to show “value”
Baladassare Castiglione, Raphael, 1515
friend from Urbino, striking blue eyes, gentleman like, hat to cover baldness
riposo- inner calm, resting but not sleepy, grace
earthy colors VS Michelangelo’s acidy, bright color
Pope Leo X with Cardinals Giulio de’Medici and Luigi de’Rossi, Raphael, 1517
heavy winter clothing, collected objects in portrait, right hand side- first cousin future pope clement 7, behind- cardinal rossi- holds chair, protective, died 2 years after making cardinal
hands could be descendent of Mona Lisa
Galatea, Raphael, 1513, Villa Farnesina, Sala di Galatea, Rome, comissioned by Agostino Chigi (banker from Siena)
movement, spiral body, centrality
Transfiguration, Raphael, 1516-20, panel
last painting worked on before he died
first sign of Jesus’s divinity, apostles blinded by light
darker colors and shadows
healing of epilectic boy- chaos, source of salvation only through Christ
above Raphael’s tomb after he died
Sant’ Andrea, Leon Battista Alberti, designed 1470, Mantua
major precedent to Bramante
huge triumphant arches and other Roman elements
Inside Sant’ Andrea, Alberti, 1470, Mantua
piers separate chapels, no cloumns so you can see down the nave
dome and occulus, coffered barrel vault
Santa Maria presso San Satiro, Bramante, Milan, 1485
painted barrel vault, thinner piers, centrality in alter
Alter of Santa Maria presso San Satiro, Bromante, Milan
alter creates vanishing pt on tabernacle where host is kept
optical illusion- painted to look like apse
pendentives (triangular space to support dome) above
Renovated Santa Maria della Grazie, Bramante, begun 1492, Milan
brick, circle and rectangular shapes
renovations commissioned by Duke Sforza
Leonardo Last Supper fresco at same time
Santa Maria della Grazie, Bramante, 1492, Milan
rectangles and circles
carved out sections like vertical barrel vaults
no tiny aspes like Leonardo’s designs
Plan for Santa Maria della Grazie, Bramante, 1492, Milan
mosoleum replaces aspe and alter, chapel added on behind, centralized dome
nave gothic (not by Bramante)
Dome ceiling, Santa Maria della Grazie, Bramante, 1492, Milan
similar to Hagia Sofia-little windows and occulus
Tempietto, Bramante, 1511, Rome, commissioned by King Ferdinand and Queen Isabella of Spain
“believed” to be where Peter was martyred
originally wanted wide open space with columns around
centralized in space- first to have elevating elements
solid, stable rotunda- classical
doric columns (has base, plain column) and frieze- alternating designs-triglyph (3 columns) and metope (christian religious symbols-keys. chalices, etc.)
above- allternating scalloped and rectangular cut outs
Medal commemorating beginning of New St. Peter’s, bronze, 1506 design by Bramante
plan for new cathedral
Plan and axonometric reconstruction of New St. Peter’s design, Bramante’s design, 1506
alter in the middle right below center of dome- ultimate centrality
Greek cross- all legs the same size
section of dome for St. Peter’s as proposed by Bramante
1506
intended to be a perfect circle
Crossing of St. Peter’s as it was being built
tearing down Old St. Peter’s and building the new one at the same time
Plans for New St. Peter’s, Bramante and Raphael
Rahael was interested in Bramante’s design, but still wanted a nave for procession
Plans for St. Peter’s: Original, Bramante, Michelanglo, modern design
Cortile del Belvedere, Bramante, begun 1505
route from Papal Palace to Belvedere Palace
separating wall added later
Drawing of Cortile del Belvedere, Bramante, begun 1505, drawing from 1558-61
stairs up to Belvedere Palace
centrality to large gateways
Cortile del Belvedere
plane similar to palestrina fortuna primigenia in Rome
Palazzo Caprini Facade, Bramante, 1510, Rome
Raphael’s home in Rome
rustification- heavy on bottom, lighter on top
doric columns, pediments, doric frieze
destroyed by Mussolini
Tomb of Julius II 1532 plan, Michelangelo
attached to wall, less statues, columns
Tomb of Julius II, Michelangelo, completed 1545, San Pietro in Vincoli
only one statue by Michelangelo: Moses
Last Judgement, Michelangelo, 1536-41, Sistine Chapel, Vatican, Rome, fresco
Jesus in center- saved on his right, damned on his left
earth on bottom, heaven in the highest parts
opening to Hell right above alter- warning to priests/popes to be good…
Last Judgement, Michelangelo, 1536-41, Sistine Chapel, Vatican, Rome
Jesus’s arm raised as if to strike down the damned, not as concerned with the saved
this section of wall is pushed back at the bottom and then steadily comes forward with rest of wall- makes it look like Jesus is looming down over viewers
Mary small, looks to the saved side
Last Judgement, Michelangelo, 1536-41, Sistine Chapel, Vatican, Rome
Angels play trumpets to raise the dead
Last Judgement, Michelangelo, 1536-41, Sistine Chapel, Vatican, Rome
dead rising from the grave, slowly become more alive- put on flesh, become less green, pulled up (saved) by roseries (faith)
Last Judgement, Michelangelo, 1536-41, Sistine Chapel, Vatican, Rome
Saved woman, face relieved, peaceful
Last Judgement, Michelangelo, 1536-41, Sistine Chapel, Vatican, Rome
Highest part- symbols of Christ- cross, crown of thorns, etc
Last Judgement, Michelangelo, 1536-41, Sistine Chapel
Devil-similar position to one of his prophets on Sistine ceiling
demons whispering to him
snake biting his junk
Last Judgement, Michelangelo, 1536-41, Sistine Chapel
damned man, demon attacking him, complete despair on his face even though half covered
Last Judgement, Michelangelo, 1536-41, Sistine Chapel
Peter and Bartholomew on left
Bartholomew was skinned alive- holds skin with Michelangelo’s face, holds knife close to Jesus’s leg as if to say make sure you make the right decision
Last Judgement, Michelangelo, 1536-41, Sistine Chapel
highest point on damned side tools of flagellation- column, whip, etc
Plan for St. Peter’s, Michelangelo, 1546-64
centralized like Bramante’s, but more square
Exterior of St. Peter’s, Michelangelo, 1546-64, Vatican, Rome
colossal order- plasterns cover 2 stories
great line above of plasterns- entablature: wraps around around all the elements and unifies them plus attic- alludes to empirical Rome
front- Baroque artists added nave and front part- blocks view of dome
Dome of St. Peter’s, Michelangelo, 1546-64, Vatican, Rome
not circle- oval-> less outward pressure
based on Duomo
Campidoglio, Michelangelo, 1538-64, Capital Hill, Rome
renovations to palaces
statue of Marcus Aurelius (copy now) in oval
now in museum (built to mirror opposite palace)
palazzo- expands against the buildings, tense
pavement design not executed until Facist era
Palazzo dei Conservatori, Campidoglio, Michelangelo, begun 1563
museum
similar facade to St. Peter’s
opposite building (Plazzo Nuovo) not finished until 17th century
Pieta, Michelangelo, 1547-55, marble, Florence
human man (Michelangelo or Nicodemus) presents Jesus
parallels descent from cross
Jesus embraces Mary Magdalene, she embraces him and man behind, man embraces Jesus- death
missing leg- controversial
Pieta, Michelangelo,1554-64, marble, Milan
intended for his tomb
unfinished before his death
figures looking down, from heaven maybe
Jesus is etheral, not dying like previous pietas
not on his tomb (Santa Croce, Florence)
Madonna of the Harpies, Andrea del Sarto, 1517, panel, Uffizi, Florence
commissioned for alter of S. Francesco in Via Pentolini, Florence
charoscuro, sfumato- extreme-> Leonardo
baby has secretive, mysterious smile- un-child like- Mona Lisa
Lamentation, Andrea del Sarto, 1524, panel, Florence
manerist
chalice and host on bottom (above alter) below Jesus- can barely see him- sfumato
Peter above Jesus- not usually in Lamentation (church dedicated to him)
contemplative feel
heavy figures, stable-> high renaissance
sarto is bridge between High Renaissance and Manerism
Annunciation, Jacopo Pontormo, 1525-28, fresco, Capponi Chapel, Santa Felicita, Florence
split by Baroque tomb
Mary looks toward Gabriel and beyond to the Lamentation/Deposition
Lamentation, Jacopo Pontormo, 1525-28, panel, Capponi Chapel, Santa Felicita, Florence
Sarto pupil
grief, sorrow, emotion, Mary’s arm outstreched toward left
no central figure- strange juxtaposition of hands
Jesus’s blueish lips and eyes- death, but not heavy- easily lifted by figures
bottom figure looks out to audience- sorrow, skin tight shirt shows muscle and arm- Michelangelo
self portrait- behind Mary, sombre colors, off to side
Descent from Cross, Rosso Fiorentino, 1521, panel, Pinacoteca, Volterra
experimental, strange
much more drama, emotion, Mary just given up, Jesus is DEAD- green, collapsed (1300s), yet light, calm, graceful, Mary magdalene on ground clutching Mary, guys at top screaming, wailing
crazy drapery- sharp lines, and color, large
Descent from the Cross, Rosso Fiorentino, 1521, panel, Pinacoteca, Volterra
John the Baptist head in hands
drapery almost consumes him
shows emotion even though we can’t see his face
Dead Christ with Angels, Rosso Firoentino, 1525-26, panel, Boston, MFA
Jesus’s face similar to one in Descent- peaceful, smiling- “It is finished”
sensous, tense- left arm is propping him up, crossed ankles, lots of weight on tippy-toes, larger than life- Michelangelo- perfection of body
angels and candles, classical curls
Jupiter and Io, Carreggio, early 1530s, canvas, Vienna
lush, erotic
comes to her as a cloud
stag- alludes to a psalm
encounter with a god and response- face-pleasure
Jupiter and Ganymede, Carreggio, early 1530s, canvas, Vienna
slightly homosexual
Self-Portrait in a Convex Mirror, Parmigianino,1524, panel, Vienna
sombre colors-> Raphael
hand largest- shows patron that his skill is paramount
circle panel- perfection-he is perfect
angelic
Madonna and Child with Angels and St. Jerome, Parmigianino, 1534-40, panel, Florence
“madonna of the long neck”
not quite finished-columns
pieta position
vase- purity, columns- Mary is like a column
elongated neck- Michelangelo- enormous body and legs (drapery) vs dainty head- royal
Madonna and Child with Angels and St. Jerome, Parmigianino, 1534-40, panel, Florence
graceful-Mary is perfect
some chiroscuro
- Madonna and Child with angels and St. Jerome*, Parmigianino, 1534-40, panel, Florence
st. jerome reading scroll
unfinished- can see a foot meant for another figure
Cupid Carving his Bow, Parmigianino, 1535, panel, Vienna
Allegory of Venus and Cupid, Bronzino, mid-1540s, panel, National Gallery, London
naughty, incestuous
father time reveals the scene
Allegory of Venus and Cupid, Bronzino, mid 1540s, panel, National Gallery, London
jealousy
yelling, pain
Allegory of Venus and Cupid, Bronzino, mid1540s, panel, National Gallery, London
figure of fraud
conceals reptillian form
