Final Exam Flashcards
Sutton Hoo Purse Cover
Early Middle Ages, 5th C - 1050
Gold, enamel, glass, bone/ivory
Chi Rho Iota page, Book of Kells
Early Middle Ages, 5th c - 1050
First three letters of Jesus’s name in Greek
From the first chapter of St. Matthew
shows two cats stalking mice - mice were considered evil. Cats became a symbol of good over evil.
Palace Chapel of Charlemagne at Aachen
Early Middle Ages, 5th c - 1050
Gero Crucifix
Early Middle Ages, 5th C - 1050
Commissioned by Arche Bishop Garrow, artist unknown
artist knew about death - bloated stomach.
head was hollowed to hold wafers
Made of wood.
Santiago de Compostela
Romanesque, 1050 - 1200
Shrine to St. James, first apostle martyred after the death of Jesus.
badge is a scallop shell
popular for pilgrimages.
Bayeux Embroidery/Tapestry
Romanesque, 1050-1200
Commissioned by Bishop Odo for nave of Bayeux church
230’ long, 20” high
represents the battle of Hastings
Most likely made by women - embroidery!
Bonanno Pisano, Campanile (bell tower)
Romanesque, 1050-1200
Made from Marble
Tower was stabilized, but not straightened because of tourism
built on soft ground - hence the sinking
upper area has different angle to help stabilize the tower
San Giovanni Baptistry
Romanesque 1050-1200
central plan, polygonal shape
color-striped marble
in 1300s was thought to be ancient roman architecture remaining
believed not a true florentine unless baptized in the baptistry.
Cathedral of Notre Dame at Chartres (Chartres Cathedral)
Gothic 1150-1400
Signifigant fire in 1194 that damaged building.
Construction continued - two different towers resulting.
Cathedral is at highest pointin Chartres
Stained glass over window is some of the oldest surviving stained glass
ceiling is over 100’ high & required flying buttresses for the walls
(large stained glass windows made the walls unstable)
Chartes Cathedral, Royal Portal
Gothic 1150 - 1400
Cathedral of Notre Dame
Gothic 1150-1400
Became a symbol of the Monarchy in France
Much of the decorative sculpture is 19th century
first church planned to use flying buttresses
popularized “rose” windows - circular windows, became a symbol of Mary “rose without thorns”
Sainte-Chapelle
Gothic 1150-1400
Vault decorated - blue with stars
small chapel built like a reliquary to house objects brought back from the crusades by Louis IX:
part of the crown of thorns
part of crucifixion cross
nail used to hold Jesus to Cross
metal tip from lance of Longiness
peice of sponge, believed to have dabbed lips of Jesus while he was on Cross
The relics are now in the holy treasury of Notre Dame
Virgin and Child in Majesty, Duccio
Proto-Renaissance, 1250-1400
part of the Maesta altarpiece
both sides were painted with more than 40 scenes of Mary and Jesus’s lives
backside was removed from front in 1700s
some panels are all over the world
called Maesta (Majestic) because when the citizens of Sienna entered the studio they all cried out Maesta.
Virgin and Child Enthroned, Giotto
Proto-Renaissance1250-1400
symmetrical scenes of angels and prophets
understanding of 3d space
Gold background, byzantine influence
may have used model references for figures
The Lamentation, Giotto
Proto-Renaissance 1250-1400
depicts the death of Jesus, after removal from cross
weighted to the left side where Jesus is, strong diagonal to the lower left
barren tree in uppe rright, dealing with death
intense sadness portrayed
Raising of Lazarus, Giotto
Proto-Renaissance 1250-1400
one of the key miracles performed by Jesus during his adult life
better sense of 3d, angled halos
full tree - dealing with life/resurrection
depicts women covering their noses because of decaying smell
sky is blue rather than byzantine gold, more realistic
Birth of the Virgin , Lorenzetti
Proto-Renaissance, 1250-1400
installed around Mary’s Birthday, Sept 8th (traditional)
Anne has already given birth
similar to images of christ child being washed
sense of depth
triptych
women holding bread and wine - allusion to communion
Merode Altarpiece, Workshop of the Master of Flemalle
Flemish Renaissance, 1400-1500
Merode - last family to own it.
Triptych
perspective troubles - too angled
husband and wife patrons on left witnessing annunciation (Englebreck)
Carpenter on right drilling holes into wine press (blood of christ)
Ghent Altarpiece (open), Jan & Hubert van Eyck
Flemish Renaissance, 1400-1500
painting done by Jan, framing done by Hubert
gives illusion to space, looking up at adam and eve, as if they’re coming out of their niches.
Eve looks serpentine - one leg is visible
Ghent Altarpiece, Jan & Hubert Van Eyck (closed)
Flemish Renaissance, 1400-1500
depicts annunciation with Gabriel on left and Mary on right
Lower panels include patrons (Vid)
Lower central panel represents St. John Evang. and St. John Bapts. (sculpture)
Double Portrait of Giovanni Arnolfini and his Wife, Jan Van Eyck
Flemish Renaissance 1400-1500
“Jan Van Eyck was here” signed near mirror
Woman has bloated stomach - fashionable @ the time
Dog represents Loyalty/fidelity
St. Margaret on bedpost (Saint of childbirth), beads rep. purity.
one candle burning, trad. marriage custom. Light one candle on day of marriage to burn through evening when consummated.
Man @ window - mans world. Woman @ bed - domestic
Crucifixion with Mourning Virgin and St. John, R. Van der Weyden
Flemish Renaissance, 1400-1500
diptych (may have been more)
takes place in Calgary - skull and bones rep. Calgary/Golgotha
painted after visit to Italy during Lent - red drapery was hung in churches (possible link), strong possibility due to painting during Jubilee year - extra dispensation when going to St. Peter’s
Portinari Altarpiece/Adoration of the Shepherds, Hugo van der Goes
Flemish Renaissance 1400-1500
painted for a hospice tending to expecting mothers
oil rather than tempera paint
part of Triptych
Harp in tympanum of building represents David (played harp)
used gold dust mixed into oil paints for shimmery effect
Ceramic vase painted with grapes - reference to blood of christ
various expressions on Shepherds
Garden of Earthly Delights, Bosch
Flemish Renaissance, 1400-1500
triptych, unknown commissioner
makse use of atmospheric perspective
Hedonistic portrayals of people (and animals, and..fruit?) in sexual acts
left panel - garden of eden, pre-sin
central panel: population explosion, hedonism
right panel: Hell
bizzare and odd painting.
Sacrifice of Isaac, Ghiberti
Early Italian Renaissance, 1400-1495
made for competition for the Baptistry in Florence to do the Doors
St. George, Donatello
Early Italian Renaissance 1400-1495
freestanding, in the round, marble
Feast of Herod, Donatello
Early Italian Renaissance, 1400-1495
cast bronze, relief panel
Expressive reactions to the presentation of the head of St. John Bapts.
one of earliest uses of liniear 1pt perspective
Gates of Paradise, Ghiberti
Early Italian Renaissance, 1400-1495
dubbed by Michelangelo, after Ghiberti’s time
weighed 3 tons, bronze, 20ft tall
fully gilded
represents scenes from old testament
David, Donatello
Early Italian Renaissance, 1400-1495
Free standing, sculpted in the round, cast bronze
first free-standing cast bronze since ancient times
life-sized, just over 5’
represents a boy rather than man, wearing fashionable hat
displayed in courtyard of Medici family home
Has just slain and beheaded Goliath
Mary Magdalene, Donatello
Early Italia Renaissance, 1400-1495
Non-traditional representation of Mary Magdalene (typically depicted beautifully)
Represents Mary after death of Jesus
carved, painted wood
was damaged during flood in Giovanni Baptistry
Donatello had painted veins in her legs, anda pplied gold dust to make her shimmer
Foundling Hospital, Brunelleschi
Early Italian Renaissance, 1400-1495
Orphanage, funded by the guilds of florence
provided medical care, education, and housing for children
long, flat horizontal building
uses grey stone to contrast the white walls
used pendentives to create domes behind each arch
rotary table for anonymous deposit of unwanted child
directly purpendicular to a church dedicated to women unable to concieve
Dome of Florence Cathedral, Brunelleschi
Early Italian Renaissance, 1400-1495
Dome rises 30 stories
138’ diameter
largest masonry dome in the world
invented equipment for construction & models
Models are still in florence museum
double-shelled dome - outer layer is elongated, inner done is traditionally rounded.
The statue of David was meant to be placed atop the dome
San Lorenzo, Brunelleschi
Early Italian Renaissance, 1400-1495
originally Romanesque church, Medici family renovated/updated the look. Hired Brunelleschi to remodel interior
Basilica Floorplan
dome over the crossing trancept
flat, coffered, ceiling overhead instead of vaults
Trinity with the Virgin, St. John the Evangelist, and Donors - Masacchio
Early Italian Renaissance, 1400-1495
Funerary fresco for donors
Donors attires match Mary and St. John’s
Skeleton on top of sarcophagus at bottom of the painting
“I was once what you are. What I am, you will be.”
perspective, corinthian columns, accented colors
Sarcophagus seems below eye level, Crucifixion above eye level (base of cross is eye level)
The Tribute Money, Masacchio
Early Italian Renaissance, 1400-1495
Story from the life of St. Peter
modeled after a triptych
Madonna and Child with Four Saints (St. Lucy Altarpiece), Veneziano
Early Italian Renaissance, 1400-1495
Sacra Conversazione - sacred conversation
depicts St. John Bapts, St. Francis, St. Zenobius, and St. Lucy
Triptych
Elaborate saints on right, simplistic on left
Veneziano is one of the pioneers of sacra conversazione
Battle of the Nudes, Pollaiuolo
Early Italian Renaissance, 1400-1495
Ink on paper
Ficticious combat
idealized male figures, various states of contrapposto
figures in an oval design
The Birth of Venus, Botticelli
Early Italian Renaissance, 1400-1495
Venus/Aphrodite - goddes of love and beauty
one of the first images to represent pure mythological subject
painted for Medici family
Tempera on canvas
Meant to emphasize spiritual beauty over physical beauty - humility/modesty
zephyrs on left (like angels)
Flora on right, ready to clothe her
triptych design (3 parts!)
mimics scenes of the baptism of Jesus
Venus in same pose as the Medici Venus sculpture
The Last Supper, Leonardo
High Renaissance, 1495-1520
Fresco in refrectory (dining hall)
feet of Jesus were cut off by addition of a doorway
done in both water based and oil paints
repainted several times
The Last Supper is mentioned in all four gospels
Mona Lisa, Leonardo
High Renaissance 1495-1520
Portrait of Lisa Gherardini
Duke of France purchased painting from Leonardo but was not able to have it until after Leonardo’s death
Pieta, Michelangelo
High Renaissance, 1495-1520
Pure white Marble
Mary holding dead Jesus after removal from Cross - the last goodbye
“Michelangelo Buonorotti of Florice Made It” across Mary’s ribbon on chest
highly polished to a shine
stoic, peaceful expression on Mary’s face
David, Michelangelo
High Renaissance, 1495-1520
Intended to be placed atop Duomo, but florentines like it so much they put it outside the city hall
Replaced a sculpture by Donatello (Judith with head of Holofernes)
Idealized Greek style
hand was broken off when a chair was flung at Medici, Statue was moved to museum, but to-scale replica was put outside the town hall
Moses, Michelangelo
High Renaissance, 1495-1520
From Pope Julius II Tomb design
holding 10 commandments
beard seems overly large - statue is meant to be seen from below
Horns - strong anti-semitism - jews were beleived to be ddecended from the devil, traditinally represented with horns
or, mis-translation of light may have lead to the horns
Creation of Adam (Detail from Sistine Chapel ceiling), Michelangelo
High Renaissance, 1495-1520
Stop moment - just before God puts spark of life into Adam
Eve is waiting, not yet created, at God’s side in heavenly realm
The Last Judgement (Sistine Chapel altar wall), Michelangelo
High Renaissance, 1495-1520
Not compartmentalized - chaotic and jumbled
Focal point is Jesus
figures were originally nude, but were painted with clothes later
figure of St. Bartholomew holding skin - skin is recognized as a self-portrait by Michelangelo
Madonna of the Goldfinch, Raphael
High Renaissance, 1495-1520
created for private chapel
uses Sfumato - golden brown light
Triangular setup
Faint halos - almost unnoticeable
The School of Athens, Raphael
High Renaissance, 1495-1520
architecture is Roman, not Greek
represents Greek Philosophers
Two figures in center are Aristotle and Plato - figureheads of Philosophy
believed that the figure in front, Heroclitis, is a portrait of Michelangelo, wearing stone-cutter’s clothes (would have worked in proximity)
Venus of Urbino, Titian
High Renaissance, 1495-1520
may be related to marriage - marriage chest
Makes use of Sfumato and Chiaroscuro
could also be related to fertility and beauty
St. Peter’s Plans, Michelangelo
High Renaissance, 1495-1520
Plans drawn up for remodeling of St. Peter’s
Michelangelo dies before it is finished
Dome was finished by G. della Porta
Madonna of the Long Neck, Parmigianino
Mannerism, 1520-1600
christ child is large, mary’s body is distorted and elongated
Emulates Michelangelos’ Pieta
Battle/Rape of the Sabine Woman, Giambologna
Mannerism, 1520-1600
dramatic, public outdoor sculpture, just outside town hall
life-sized figures/slightly over-life-sized
Saltcellar of King Francis I, Cellini
Mannerism, 1520-1600
held salt and peppercorns
gold, enamel, and inlaid gems
meant to be publicly displayed and spark conversation
represents Neptune (god of the sea) and Mother Earth
Influenced by Michelangelo’s designs for Medici family tombs
Feast in the House of Levi, Vernoese
Mannerism 1520-1600
pseudo triptych, created by three arches in painting
very large sized painting, architecture would seem realistic
creates a sense of space
Commissioned by monastery, assumed to be last supper initially
made to look like venetian banquet
The Last Supper, Tintoretto
Mannerism, 1520-1600
dark, unusually angled painting - in a cellar of some sort
all apostles have small halos, but Jesus has largest halo
strong use of chiaroscuro
smoke from lit lamps turns into angels
Judas is on opposite side of table by himself
Jesus is distributing the bread, later than Leonardo’s version of Last Supper
San Giorgio Maggiore, Palladio
Mannerism, 1520-1600
faces the grand canal in Venice on it’s own island across from St. Mark’s sq.
width of church should equal height
engaged corinthian columns and pediment
paintings by tintoretto still in the church on either side of altar
St. Peter’s Facade, Maderno
Baroque, 1600-1750
changed Michelangelo’s designs, frontal facade is curved
front of building has been extended, so Michelangelo’s Dome cannot be seen well
engaged columns rather than free-standing
soft yellow stone used to give church a golden hue
David, Bernini
Baroque, 1600-1750
stopped action, readying sling
emotional representation evident on face
creates sense of movement through the fabric and hair
meant for a private gallery in Rome
Life-sized
The Ecstacy of St. Teresa of Avila, Bernini
Baroque 1600-1750
looks almost akin to the annunciation, but is def. not
very popular saint who wrote about her visions
very sexual in design
mixed media - marble, stucco, gold, and glass
St. Peter’s Piazza, Bernini
Baroque, 1600-1750
looks like a keyhole - reference to keys of St. Peter (to heaven)
designed using reverse perspective - looks closer as you enter, and seems further away as you leave
deliberate use of classical architecture including free-standing columns, using roman variant of duric columns
statues added at a later date, represent different holy figures
The Calling of Saint Matthew, Caravaggio
Baroque, 1600-1750
use of tenebrism - dramatic use of chiaroscuro (working lights against darks)
powerful diagonal leads eye down to lower left of painting
subtle halo on Jesus
use of non-idealized models for references
avoidance of deep space, makes it feel as everything is closer
Judith and Maidservant with the Head of Holofernes, Gentileschi
Baroque, 1600-1750
secondary painting in a series
suggestion of something happening outside of view
Gentileschi was a female painter, taught by her father
Catharina Hooft and her Nurse, Hals
Dutch Baroque, 1600-1750
presents a child of priveledge with her nurse
Gold rattle also shows staure
Made to flatter the patrons
Fabrics are elaborate - lace trim and brocade
Malle Babbe, Hals
Dutch Baroque, 1600-1750
represents a lower class, “woman of the night” (not prostitute)
Malle Babbe - dutch expression for crazy old woman
spontaeneous portrait - non flattering
Middleclass buyers would enjoy it for how inappropriate it is
Woman with a Water Jug, Vermeer
Dutch Baroque, 1600-1750
portrays Merchant household, woman (not servant) preparing to water her flowers
Leaded glass denotes status
Luxurious decor in painting - carpet on table, and map on wall
non-religious figure, still seems spiritual
Woman Holding a Balance, Vermeer
Dutch Baroque, 1600-1750
strong emphasis on primary colors
Depicts woman in back of a studio w/ scales (jeweller’s studio)
painting in background is religious, last judgement in style
Woman w/ scales mirrors the weighing of souls
Flower Still Life, Ruysch
Dutch Baroque, 1600-1750
Female artist, characteristic subject for female artists to paint
flowers didn’t all bloom in same season, composite image concieved over multiple months/seasons
Strong diagonal from lower left bloom to top right
Anatomy Lesson of Dr. Nicolaes Tulp, Rembrandt
Dutch Baroque, 1600-1750
Public work, meant to hang in the surgeon’s hall
Shows Tulp giving an anatomy lesson to his students (varying interests)
All the faces recieve light, they stand out from the dark
The Company of Captain Frans Banning Cocq (The Night Watch), Rembrandt
Dutch Baroque, 1600-1750
commissioned group portrait, handled dramatically
two figures in front are focal
Glowing figure of a little girl with chicken at her waist, not a member of the watch
use of Impasto (layering of paint) to create texture and shine
Self Portrait, Rembrandt
Dutch Baroque, 1600-1750
painted a year before he lost his studio and home
serious expression, differs from previous self portraits
beret - style that denoted artists
had a compulsive shopping problem
Three Crosses, Rembrandt
Dutch Baroque, 1600-1750
etching - a metal plate is covered with acid resistant substance and the artist scrapes away the material. Then the plate is dipped in acid. This is a multi-step process that is usually done several times to get desired effect
third state out of six
Holland was a protestant state, religious material was not popular (better for Florence or Rome)
Louis XIV, Rigaud
French Baroque, 1600-1750
longest reigning monarch (72 years)
was thrilled with this image (he was 63 at the time)
shows off shapely legs - enjoyed ballet!
Versailles - LeVau, Mansart, Le Notre, LeBrun
French Baroque, 1600-1750
Louis XIV made entire French aristocracy move to Versailles
Built in less than 10 years
river was rerouted to create fountains on grounds
