Exam 2 Flashcards
1
Q
A
Christ Before Herod, woodcut, ca. 1400
- Limited shading and detail, no indication of setting
- Pretty stripped down process in terms of its linear complexity
2
Q
A
Master of the Playing Cards, King of the Wild Men, engraving, ca. 1440s
- Popular, secular purposes with early prints, beginning to move into a capacity for more lines to define the image
- Attempts to differentiate between the texture of hair and other things within his engravings
- Among the earliest engravings on paper that
- Was probably trained as a gold smith or silver smith, perhaps an armourer
3
Q
A
Master E.S., Einsiedeln Madonna, engraving, 1466
- Commemorates a historic event, a chapel being built
4
Q
A
Master E.S., Samson and Delilah, engraving, ca. 1460
- perhaps a genre subject (something from every day life)
- Lot of interest in these sort of subjects: SEX N ART AWWW YEAH
5
Q
A
Schongauer, Nativity, engraving, 1470-75
- May have been part of a series
- Lots of different textures, plants, hair, drapery, stone
- Attentive to light and shadow creating a sense of depth in the pictorial space
- Two intrinsic limitations tho, white of the paper and the black of the ink
- Feels a compulsion to create a more complex printed image that will do justice to the visual considerations he has contended with as a painter
6
Q
A
Schongauer, Flight into Egypt, engraving, ca. 1470-75
- Flight into Egypt: ambitiously incorporating naturalistic detail into his engraving
- Inventive composition, pulling palm tree down, but leaves the white of the paper to function on its own and imply she sky and do it’s own thing
- Cast shadows holla
- Inventive approach to composition as well as that expanding versatility and vocabulary that we talked about
7
Q
A
Schongauer, Temptation of St. Anthony, engraving, ca. 1470-75
- Later copied by Michelangelo, currently in the Kimbell
- This becomes a popular subject in northern renaissance art, free reign to their imagination
- Incredibly control and versatility of stroke, short curved lines, different variations and spacing and such to create his texture
8
Q
A
Schongauer, Death of the Virgin, engraving, ca. 1470-75
- Non-suffering virgin surrounded by apostles
- Can’t help but create complex images that reveal some connections to goldsmiths and silversmiths (candlestick in the foreground of the Death of the Virgin), his family members were gold/silver smiths
9
Q
A
Schongauer, The Road to Calvary, engraving, ca. 1475
- Christ looks directly out at the viewer, he’s lighter than other figures
- Back gound behind the cross and the contrast against him, LIGHT V DARK
- Also light and dark in the sky ends right where Christ is, he becomes an access of light versus dark
- Angle of the cross draws our attention
- Lots of figures focused on christ
10
Q
A
Israhel van Mekenem the Younger, Self-Portrait with his Wife Ida, engraving, ca. 1490
- First to create a self portrait in printmaking
- He also signed it, conceited bastard
11
Q
A
Van Meckenem, Mismatched Lovers, engraving
- Younger woman and an older man
- She said this was erotically charged more like not gross
- Basically men will be men
12
Q
A
Master of the Amsterdam Cabinet, Aristotle and Phyllis, drypoint, ca. 1480
- One of the firsts to use drypoint method
- Needle cuts into the plate, but instead of removing the metal, the residue goes to either side of the line and creates a burr of metal so its like kinda fuzzy, eventually the burr fades after like 6 prints
- Velvety, tactile richness to the shadows
- Aristotle was a philosopher, but in the middle ages a fairy tale developed that he succumbed to the power of love, specifically a woman
- Alleged mistress is riding around on his back and some neighbors are watching
- POWER OF WOMEN THEME
13
Q
A
Tilman Riemenschneider, Passion Altarpiece: details of mourning women, St. John, Caiaphas, and Soldiers, painted limewood, Munich, 1485-90
- Riemen is born around 1960, was a sculptor in southern Germany; long and prosperous career
- More emotional figures like Van der Weyden
- None of the figures are interacting with one another, are technically supposed to be looking up at a crucified Christ (we’re missing this piece)
- Lots of detail on the drapery
- Very individualized faces
14
Q
A
Tilman Riemenschneider, Munnerstadt Altarpiece, with details of the 4 Evangelists, limewood, Munnerstadt, Church of Mary Magdalen, 1492
- Another retable
- Intact at its original location
- Commissioned for a church of Mary Magdalen in 1490
- Went ito a church that was built in the early 15th century
- Iconography was supposed to center on mary magdalen as we see in the original documents
- Mary in center flanked by two saints
- Four evangelists at the bottom
- Reliefs show the life of mary mag
- “I mean I guess she’s supposed to be wearing a kind of hair shirt….”
- Descending to heaven
- Four evangelists are very individualized
15
Q
A
Tilman Riemenschneider, Munnerstadt Altarpiece, 1492
Detail: Mary Magdalen
16
Q
A
Tilman Riemenschneider, Madonna and Child on a crescent moon, painted limewood, Vienna, Kunsthistorisches Museum, ca. 1505-10
- Described in the book of revelation (apocalyptic woman)
- This is a way of portraying the immaculate conception of the virgin
- Using the iconography from the apocalyptic woman because there is nothing about her conception and this becomes very popular
- Virgin mary is carrying the Christ child
- Yellow one has traces of polychromies
- One of the first to produce unpainted sculptures
17
Q
A
Tilman Riemenschneider, Holy Blood Altarpiece, limewood, Rothenburg, Jobskirche, 1501-05
- Another retable
- The iconography is driven by the identity of the relic
- Central subject is the last supper, when Christ establishes the sacrament of the eucharist
- Seems very agitated and almost a bit chaotic
- May be the announcement of the betrayal
- Christ is pointing towards Judas who is standing in front of the table and holding his bag of silver, Jesus is just like this bitch he did it don’t trust him hes p much the devil
- Christ entering Jerusalem on the left
- Something about wanting a burden removed from him
- Complicated and ambitious arrangements
- It’s a bit brash because in the biblical text he doesn’t say that it is Judas
18
Q
A
Albrecht Durer, Self-Portrait Drawing at 13, silverpoint, 1484
19
Q
A
Durer, Self-Portrait with Eryngium, Louvre, 1493
- He’s traveling a lot and then his parents decide to find his wife and engage them
- So he paints this self portrait in the context of the engagement, he thinks he is the hottest shit, dear god; holds a flower that is considered symbolic of luck in love, also an aphrodisiac
20
Q
A
Durer, Self-Portrait, 1498
- Done after his first trip to Italy, has morphed into a total dandy, aka just stepped out of a beauty parlor, dressed in the Italian style, as a gentleman
- Italian format with a ledge in the foreground, clearly has looked at contemporary italian portraits
21
Q
A
Dürer’s Mother, black chalk drawing, 1514
- Sometimes the chalk is super sharp to create the harsh lines, while in other areas its much duller to shade
- Extraordinally individualized and an un idealized portrait of an older woman
22
Q
A
Durer, Self-Portrait, 1500
- 1500, rigidly frontal and has an iconic quality to it, tracking back to medieval art where the holiest figures were rigidly frontal; right hand had a prominence and points back to himself in a gesture that’s distinctly reminiscent of a type of Byzantine image known as the pentackreter
- Judgmental, Christ in his divine aspect
- Brilliantly illuminated, silhouetted against and extremely darck background, riveting
- Is he being sacrilegious?
23
Q
A
Durer, St. Jerome, woodcut, 1492
- Did he both design and cut or?
- Lots of detail in the St. Jerome one; most important father, translated the bible; durer shows st. Jerome surrounded by three versions of the bible, one in greek, one in Hebrew, and one in latin
- Jerome is pausing to remove a thorn from a lion’s paw, showing his compassion
24
Q
A
Durer, Vision of the 7 Candlesticks, from the Apocalypse, woodcut, 1498
- Durer begins to focus more on prints and does so because it is more profitable
- Durer likes prints and things that are unique
- Choses to illustrate the book of revelation
- Fourteen illustrations total
- First illustration
- Seven is a popular number in the book of revelation
- Visually accomplishing some new things in printmaking
- You can see the mastery of his subtly variations in linework
25
Q
A
Durer, The Beast with Two Horns, from the Apocalypse, woodcut, 1498
- cool crowns
- much different than what we’ve seen in the Nuremberg Bible
- by varying the character of his linework he is able to create a different feeling and substance, very individualized
26
Q
A
Durer, The Four Horsemen of the Apocalypse, from the Apocalypse, woodcut, 1498
- Death, War, Famine, and Pestilence
- Constantly part of every day life in Europe, a real force that was constantly felt
- Death is very malnourished and skeletal, riding over a king and a woman and a clergyman, his horse is also very sickly
- Wait the other three hold is directly from revelation
27
Q
A
Durer, Madonna with a Dragonfly, engraving, ca. 1495
- Very tactile interest
- Landscape
- At this point, still working on his perfect monogram
28
Q
A
Durer,The Prodigal Son Amid the Swine, engraving, ca. 1496
- Importance of penance and being repentant for your sins
- Eating from the pig troughs and having a spiritually transformed moment
- One of Dürer’s most popular prints throughout Europe
- Impressive landscape setting
- Prepatory drawing obviously in reverse
29
Q
A
Durer, The Four Witches, engraving, 1497
- Women seen as spiritually and morally inferior to men
- Witches are a big deal
- A lot like Raphael’s The Three Graces
- Molius Moleficarum
- Lots of witchcraft trials
- Might be a representation of three witches and one innocent woman who is pregnant, they took the baby out of their womb? What’s happening idk
- Less idealized than Raphael and less naturalistic
- Skull and bones lying on the floor
30
Q
A
Durer, Hercules at the Crossroads/The Combat of Virtue
and Pleasure before Hercules, engraving, ca. 1498-99
- Unfinished first state of plate is available
- Nude woman has obviously been sexually engaged with a satyr
- Virtue is not compassionate, about to beat her over the head with a club
- Has created a moralized landscape
- Becoming increasingly fluent of creating a whole range of textures and substances
31
Q
A
Durer, Large Piece of Turf, watercolor drawing, 1503
- Zeroes in on specific elements from natural world
- Almost under a magnifying glass
- Details
- Like leonardos’ treatise on botany but durer uses color
- Develops watercolor as an artform
- Like omf did he spend ten minutes on each blade of grass orrrrrrrr
32
Q
A
Durer, The Rabbit, watercolor drawing, 1502
33
Q
A
Durer, Left Wing of a Bird, watercolor drawing, 1512
34
Q
A
Durer, Blue Roller, watercolor and gouache drawing, 1512
35
Q
A
Durer, St. Eustace, engraving, ca. 1501
- Obsession with detailed naturalism
- Breathtakingly detailed rendering of landscape
- Tons of different types of trees and grasses and shrubs
- You almost get to the iconography after Dürer’s mastery of naturalism
- Story about a third century roman dude who was out hunting one day and turns to shoot the stag and notices a crucified Christ in the antlers of the stag, so obvi doesn’t shoot and drops to his knees and converts to Christianity
- Dropping to knees at the wonder of the natural world?
36
Q
A
Durer, The Fall of Humanity, engraving, 1504
- We see Dürer in the grip of increasingly detailed naturalism and linework, you almost need a magnifying glass to see all of the lines within this print
- We can see Durer does the landscape before the figures in his unfinished state, which is very unique as its usually the other way around
- Inclusion of the animals is very unusual, these animals represent the four temperaments:
- Melancholic (elk)
- Sanguine (rabbit)
- Choleric (cat)
- Phlegmatic (ox)
- Parrot is a symbol of wisdom but not related to the temperaments
- Adam holding mountain ash, from tree of life
- Eve just receiving the fruit from the serpent
- Very naturalistic and detailed, especially Adam
- Clearly Durer is responding to Italian art and anatomy and human proportions
- Did several preparatory drawings for this ork
- Signs his name in print rather than using his monogram
- Panofsky believes the cat and mouse reflect the relationship between Adam and Eve (may be a little too far)
37
Q
A
Durer, Feast of the Rose Garlands, National Gallery Prague, 1506
- Commission for the German chapel of a church in Venice
- In very poor condition
- Central figures have been pretty much repainted
- Very ambitious altarpiece
- Virgin and child are flanked by the pope (left) and emperor (Maximillian I); Christ and mary crown both of them with rose garlands while St Dominic crowns members of the clergy while angels crown members of the laity
- Celebration of the virgin mary, bringing together of the secular and religious realms
- More preparatory drawings for this piece (22) than any other works
- His drawings are often executed on blue paper (the only kind of colored sheet that you could buy)
- His angel drawing helps us to see how repainted the altarpiece is as it is very not durer-esque
38
Q
A
Durer, Feast of the Rose Garlands (detail) and study for lute-playing angel, 1506
39
Q
A
Durer, Adoration of the Magi, Uffizi, 1504
- for Frederick the Wise who became the employer and protector of Martin Luther
- Durer had already painted Frederick’s portrait, perhaps is Durer’s really first important patron
- Ruined buildings in bg representing older order
40
Q
A
Durer, Adoration of the Trinity, Vienna, 1511
- Colors become much more vivid, forms more emphatically sculptural
- Includes a self portrait down at the lower right, signed and dated next to his self portrait
41
Q
A
Durer, Life of the Virgin: Flight into Egypt, woodcut, ca. 1504
- Some before Italy
- Some after Italy
- Decided to turn this into a series
- After this we see a lot of series from Durer
- This might be around the time he started training assistants
- We see his signature to be more experimental, laying down
- Stroke and texture to show the different things
- Mary escaping with Joseph and Christ to escape the massacre of the innocents
42
Q
A
Durer, Life of the Virgin: Nativity, woodcut, ca. 1504
- Light concentrated on the important figures
- Ruined shed represents the old order that is replaced with the coming of Christ
43
Q
A
Durer, Engraved Passion: Lamentation, 1507
- Meant to be small and accessible
- Obviously some of this is business-driven
- Big market for these
- V emotional, cuts off the cross at the top, zeroes in on emotional impact of holy figures and their responses to the death of christ
44
Q
A
Durer, Engraved Passion: Man of Sorrows by the Column, 1509
- Devotional
- Looks out at the viewer and holds tow weapons that were used to beat him
- We are supposed to be responding as the two in the back are, they are a model for us to follow
45
Q
A
Durer, St. Jerome by the Pollard Willow, drypoint, 1512
- Briefly tries out drypoint
- Very velvety
- Not financially practical
46
Q
A
Durer, Knight, Death, and the Devil, engraving, 1513
- Immerses himself in engraving (does nothing but in these two years)
- Part of his three master prints, extraordinary accomplishments in engraving
- Erasmus was one of the great humanists in Europe, a Catholic priest and scholar who becomes an intense critic of the Catholic church, he writes and publishes a lot, however unlike Martin Luther he remains Catholic and stays with the church
- Virtuous Christian man in his battle against the flesh, the devil, and the world must treat these threats as nothing but spooks and phantom
- Is armored and equipped to do battle, but is in a rigid profile view paying no attention to these threats because he will conquer them by ignoring them
- Durer showing what an intellectual and humanist he is
- Is probably an illustration of this Erasmus school of thought
- Fox tail, some sort of protective amulet on the end of his spear
47
Q
A
Durer, St. Jerome in His Study, engraving, 1514
- Jerome has a halo of light around his head
- Hourglass and a skull here too
- Cheery room though
- Lots of light illuminates the study
- Durer’s skill at the max, range of light and dark
- THAT LION IS SO HAPPY
48
Q
A
Durer, Melencolia I, 1514
- Again, completely original and unprecedented subject
- Durer himself supplied the title, it is inscribed on the wings of the bat
- Sitting on the ground, head rests in hands, face in shadow
- Inactive, staring into space
- Not really being productive at whatever job she is supposed to be doing
- Illustration of the melancholic temperament, someone who is frozen by her temperament
- Nails and stuff that show that she may have been an architect
- She is depressed and because of this cannot continue
- Artists often understood as inclined to melancholia
- Too depressed to create
49
Q
A
Daniel Hopfer (ca. 1470-1536), The Large Choir Stalls with Christ blessing the Virgin, etching (iron)
- Etching
- He literally signed it three times wtf is ur deal bro
50
Q
A
Durer, Abduction of Proserpina on a Unicorn, etching, 1516
- Etching allows for a more fluid kind of stroke, very serpentine line
- Gets really into whirlygigs
- Comes the closest to engaging with the advantages of the etching medium
51
Q
A
Durer, St. Anthony Before a City, engraving, 1519
- Shows changes in his style, moves towards greater monumentality and less detailed naturalism
- Figure doesn’t really exist in space in the correct way
- He kinda blends into the bg
52
Q
A
Durer, Portrait of Erasmus, engraving, 1527
- Drawing from earlier helps him to make this one
- Shows him in his study (kinda like Jerome)
- Pretty prominently placed monogram
53
Q
A
Durer, Left: St. Jerome, Lisbon, 1521; Right: Preparatory Drawing, Albertina
- Made at least five prep drawings for this, three were made from life in which his model was a 93 year old man
- Hand conveys the memento mori theme (reminder of death), points with one hand to his skull, the other two his own head
- Juxtaposed to a crucifix reminding us of his religious devotion
54
Q
A
Durer, The Four Apostles, 1526
- May have been intended for the lateral panels of an altarpiece
- Big blocky, monumental forms, no eye contact with the viewer, emotionally remote
55
Q
A
Grunewald, Isenhaim Altarpiece, exterior position
56
Q
A
Grunewald, Isenhaim Altarpiece, crucifixion
- Crucifixion is central scene
- Related to a number of the other crucifixion scenes we have seen from him
- Why is John the Baptist here?
- He died before Christ
- Seems to be a kind of prophet, not historically present, but is prophesizing the impact that Christ dying on the cross will have, lamb bleeding into chalice is an example of his sacrifice
- Mary is dressed in white? V unusual
- Stands out, visual prominence
- Face expressionless
- Skin and garments devoid of any kind of natural color
- Role of light and color in this painting
- Night scene, blackened
- Brilliant light focused on the figures
- Two men are both in red, meant to signify the passion and suffering of Christ
- Christ’s body is covered with wounds and lacerations, lips have turned black in death, very obviously dead
- Cross-arm of the cross is buckling and bending with the weight of Christ
- Pain and suffering at the center of this piece
- Feet and hands are very distorted
- Did he maybe have access to dead bodies?
- Mary Magdalen is like hysterical, she’s so angry and sad and torn
- More accordion pleated draperies
- Hands are distorted, not quite believable
57
Q
A
Grunewald, Drawing of a Woman
- Potential preparatory drawing for Mary Magdalen
58
Q
A
Grunewald, Isenheim Altarpiece, Left: Resurrection, Right: Annunciation
Annunciation
- Curtain has been drawn aside to reveal the annunciation, like a theatrical production
- Isaiah is up at the top above the virgin mary
Resurrection
- No longer human
- Has dissolved into the light and color
- Stands before us in a divine resurrected state
- Very frontal, faces us so that we can clearly see the stigmata in his hands
- Reminiscent of the crucifixion pose
- Wounds are gone aside from the stigmata
- Soldiers sleeping beside the tomb
59
Q
A
Grunewald, Isenheim Altarpiece, L: Angel Concert, R: Nativity
Central: Angel Concert
- Kind of a gothic church, almost organic quality to the construction of it
- Angels inside look like none of them come from the same family or order of angels
- Really inventive with color here, thinking outside the box
- Playing musical instruments but they aren’t really holding them in a convincing way
- Crowned female figure in an aura of light
- Certainly the virgin mary
- Might be the idea of mary in the mind of god before the beginning of time
Central: Nativity
- Traditional symbols like the rose
- She holds a Christ child who holds rosary beads
- References of her virginity and purity, washbasin, clear jug penetrated by light
- Extraordinary landscape
60
Q
A
Grunewald, Isenheim Altarpiece, First Opening
61
Q
A
Grunewald, Isenheim Altarpiece, Second Opening
- Central panel with sculpture by Nicolas Hagenau, St. Anthony enthroned between Saints Augustine and Jerome
- Meeting of SS. Paul and Anthony
- Life of acceptance of the natural world, extraordinary landscape in the bg with animals who are living in harmony with nature
- Medicinal herbs
- Temptation of St. Anthony
- Derives from the writings of saint bridget
- Lament is inscribed on the right in the foreground
- We see Christ appearing above, battling demons and being hella rad
- Horrible human figure in the foreground who seems to be a man who is suffering from syphillis
62
Q
A
Grunewald, Isenheim Altarpiece, Meeting of SS. Paul and Anthony
- Life of acceptance of the natural world, extraordinary landscape in the bg with animals who are living in harmony with nature
- Medicinal herbs
63
Q
A
Grunewald, Isenheim Altarpiece, Temptation of St. Anthony
- Derives from the writings of saint bridget
- Lament is inscribed on the right in the foreground
- We see Christ appearing above, battling demons and being hella rad
- Horrible human figure in the foreground who seems to be a man who is suffering from syphillis
