Art History 3 Flashcards
Procession of the Relic of the True Cross, Gentile Bellini, 1496, Venice, canvas
Scuola for John the Evangelist
1444-relic heals by miracle- processed around
church the focal point, doge in crowd near Palace of the Doges
original mosaics on the church
St. Francis in Ecstasy, Giovanni Bellini, 1470s, oil and tempra on panel
landscape-nostalgia for terra firma- influenced by Flemish
cross-like stance-stigmata, divine light shines on scene, shoes off- standing on holy ground-> Moses (took off shoes at burning bush) Francis 2nd coming of Moses
venerating physical existance- nature
transition to oil paintings earlier than Florance
San Giobbe Altarpiece, Giovanni Bellini, late 1470s, panel, Venice
triumphant arch, barrel vault,, gold dome (San Marco), very large-figures nearly life size, unified setting- apse of a church
Francis, Sebastian, Job near Mary, Dominic by Sebastian
Francis engages us-holds hand out in welcome, shadows stigmata; Job has no ailments-saved by faith-gives viewers hope-Jesus reaches hand out to Job; Mary’s dress looks like fabric of wealthy doge, she and J look beyond!
inscription in dome- greeting similar to Gabriel’s greeting in Annunciation- Founding day of Venice
crisp light, colors, tempera, sharp lines, less unified- but still Renaissance!
Frari Altarpiece, Giovanni Bellini, 1488, sacristy, Santa Maria Gloriosa dei Frari, Venice, oil on panel
still there- 3 divisions (less unified) mirror 3 windows behind- Trinity
Madonna and child under dome- San Marco, figures make triangle/pyramid- Leonardo
Left: Sts. Nicholas (near us) & Peter
Right: Sts. Benedict (with book) and Mark
corinthian columns/plasterns-little sliver of landscape, not optically realistic (framed like a stage)
Mary solid yet floating- Leonardo adoration, distant, pensive
J stands on drapery but doesn’t affect shape
San Zaccaria Altarpiece, Giovanni Bellini, 1510, Church of San Zaccaria, Venice, oil on panel
Benedictine nuns commissioned- friends of Doge
in original location, not frame (can cee cut off)
more landscape, more “natural” light- brightens up painting, same plasterns as before
figures heavy-drapery, more shadows, only one musical angel
head above Madonna= God
J- hand and foot raised = resurrection
ostritch egg- virgin birth
Peter and Zachary face us, but look down
Enthroned Madonna and Child with Saints Liberalis and Francis, Giorgione, 1500-05, Cathedral Castlefranco, oil on panel
dedicated to St George-armour
lots of landscape, no dome, figures spread out, Meloncholy madonna- alludes to patron’s dead son, pieta, pyramid of figures
The Tempest, Giorgone, 1505-10, oil on canvas, Venice
tiny, light evokes mood-Bellini, more ominous-storm
scene not mythological or biblical- not sure
possibly evoking adam and eve after the fall- adam in field, eve feeding baby- man dressed like Venetian, not adam, lady sitting humbly on ground- could be mary (new eve)
Sleeping Venus, Giorgione, 1510, oil on canvas
for Marcello family- alluding to roman heritage (venus mother of rome’s founder)
landscape by Titian, cupid painted out, face may have been repainted (mouth is not a Renaissance mouth)
1st reclining Venus- sensual, silk against skin, sleeping- unconcious sensuousness
Pastoral Scene, Giorgione and/or Titian, 1510, oil on canvas
virtue associated with pastoral life- Virgil poems: Eclogues (italian country side)
figures barely interacting- women could be muses
bodies less defined, shadows
restful scene, can’t tell emotions
Gypsy Madonna, Titian, 1511-12, oil on canvas
background not symetrical
figures look down- future death- cloth wrapped around him (burial shroud)
use more paint, les defined lines- chiroscurro-raphael, leonardo
emotional distance- giorgione
*proximity yet distance
Portrait of a Bearded Man, Titian, 1512, oil on canvas
possibly self
sleeve and fabric emphasized- wealth
side view, elbow juts out, wall separates us- proximity yet distance
T V carved on wall- Titian Vecellio
The Man with the Glove, Titian, 1520-21, oil on canvas
restricted color palette- raphael
coat and background unified- shirt leads to face
glove/rings/clothes- wealth (rich wore dark colors)
Looks away, arm crossed over closes us off- proximity yet distance
points- possibly to something important it was place near
Assumption of the Virgin, Titian, 1516-18, oil on panel, Santa Maria Gloriosa dei Frari, Venice
very large, Mary centered, angels, God above, not symetrical
apostles below react to assumption, emotional
standing solid, yet on a cloud- wind swirling, hands up= movement upward
Pesaro Madonna, Titian, 1519-26, Santa Maria Gloriosa dei Frari, Venice, oil on canvas
left side of nave (assumption at altar- madonna on its right side)
enter from left-diagonal leads to madonna and up nave to altar, see Pesaro family first, then move left and up
no symmetry
peter in center- bridge between earth and heaven - church/pope (great intersector)
J in vertical line with Pesaro- Francis next to J leads to Pesaro
pesaros frame scene
change in relationship between human and divine- humans look more important- Michelangelo pieta
Sacred and Profane Love, Titian, 1514, oil on canvas, Rome
not sure what scene represents
little coat of arms on tomb- vice chancellor of venice- wedding panel?
designo- design, structure, drawing- not in Titian
Bacchanal of the Andrians, Titian, 1522-23, oil on canvas, Madrid
dancing, stripping, drunkeness
sensuous figures- Michelangelo’s captive
Bacchus and Ariadne, Titian, 1520-23, oil on canvas
companion to Bacchanal
still going back to Michelangelo, classical statue
violence and pleasure
Venus of Urbino, Titian, 1538, oil on canvas, Florence
Duke of Urbino, Roveri family commission
similar to Giorgione’s venus, but awkae, seductive
connected to marriage?- myrtle, dog (fidelis, fidelity)
maybe mistress…
Danae, Titian, 1550s, oil on canvas, Madrid
mother of Perseus- Zeus came as a shower of golden light
seems like a vision, sexual
brushwork more loose, less defined lines
Vasari- “Venetians hide lack of drawing skill under paint and color”
Rape of Europa, Titian, 1559-62, oil on canvas
fluid motion/brushstroke, no precise definition of line, color- seems alive- great skill, dexterity, seems effortless but needs much effort
terrifying experience, but sense of pleasure from it as well
impasto- less brushstroke- lots of dabs/blobs of paint to create layers/texture- Rembrandt
Crowning with Thorns, Titian, 1570, oil on canvas
lost symmetry- head and body not on same vertical line, collapsed, tired
isolated, you feel sympathy, the other figures block him from view
man in front wears Venetian clothes- viewer would realize/ fel Christian guilt, “sin of man” Catholic guilt
tension with light and dark and emotions
Pieta, Titian, 1576, oil on canvas, Venice
intended for his tomb in Santa Maria Gloriosa dei Frari (never made it there)
finished by Palma Giovanni
right hand side of nave across from Pesaro madonna
hardly any light, less color, dark
dome not golden anymore, large stones (top 3 trinity)
classical statues- moses and sybil with cross (Hellespontine)- prophesized crucifixion
mary magdalene very emotional- arm out, larger than others
mary and jerome frame J
jerome resembles Titian
votive painting of titian and son kneeling before mary and J
only church burial for plague victim
St. mark Freeing a Christian Slave, Tintoretto, 1548, oil on canvas, Venice
for Scuola Grande di San Marco
similar to Michelangelo- body
breaks all the instruments of torture
diagonal, small sky, framed by figures- titian
mark swoops in- upside down, fot to us- silly looking, foreshortened
Transport of the body of St. Mark, Tintoretto, 1562-66, oil on canvas
for Scuola Grande di San Marco
stormy, dark
Patron holding mark’s head
body presented like Jesus- perfect, healing
Last Supper, Tintoretto, 1592-94, oil on canvas, Church of San Giorgio Maggiore, Venice
diagonal view, lots of people, angels, light shines on table, J has own light- giving bread
Judas still on other side of table
inviting, not closed off like other last suppers
