Midterm Flashcards
Cimabue, Crucifix - Early Renaissance
animated, not convincing, naturalism, father of renaissance of art
minicant orders, side wound, dramatic, art as instrument to theri followers
hanging and placed on top
screens - separate
rud screen - placed on top or hanging above it
focus on body of jesus and connect to the body bread and wine
stylized of anatomical form
body of a beetle
patterns/shapes/geometric
not naturalistic
facial features heavily tramatized
planes and shapes
shadow/hightlights are linear
mosaic style, uses shapes/geometric - adopted for his style
Giotto, Crucifix - Early Renaissance
more naturalistic
light and shadow not sharply outlined
sutle
shorter preparation
squat
gravity/weight
hanging
hands hanging as well
more realistic muscles
not as dynamic
but more sorrow, humble, sadness facial features
translucent drapery
worship with images but of images
aid worship
Brunelleschi, Sacrifice of Isaac - Early Renaissance
- youthful isaac, looking at his father abe with a knife looks at the angel
- clothed
- relief horizontal
- distorted
- angel grab his arm
- breaks quartrefoil
not idealized, dramatic
Ghiberti, Sacrifice of Isaac - Early Renaissance
- isaac more masculine, muscular, heroic figure, single bronze piece and won, both looking at each other
- nude
- diagonal
- angel points at lamb
for the cloth merchant guild on baptistry church
quartre foils
- ghiberti won
- scene separated by rocks from the donkey and servant
- gilded
Abreham told to sacrifice his son and when he was about to do it, an angel stopped him and subst. with a sheep.
relationship btw father and son is different
Andrea Pisano, Baptistery Doors
Lorenzo Ghiberti, St. John the Baptist - Early Renaissance
wool merchants guild
orsanmichele church
last of old testament of phophets; beheaded after request of solomen
fasted in the desert
rugged, thick fabric - drapery - gothic, exaggerated
weight on one side, on a staff and holding the drapery
shift to the hip
s curve stance
camel hair shirt
- sign of pentence
- uncomfortable to wear raw hair skin
- plays with texture
- passion in his eyes
- wild hair
long thin face/cheeks
- arrested for preaching sermons
scroll on cross staff- prophecing jesus
stepping forward
defined bone structure
dynamic
Donatello
St. Mark
Early Renaissance
linen weavers’ and cloth drapers guild
contrapposto
naturalistic
not dramatic
standing on pillow
left side- straight goes to the floor,
right side - draphery is loose and flowing
curved arm
holding a book - wrote scriptures
hair close cropped
scholar less of a prophet beard
marble
Donatello
David
Early Renaissance
private commission by the Medici family and placed within their palace
courtyard
- First life-size nude bronze
- David represents the Florentine Republic and here probably the Medici
family. Embodies courage and strength to represent Florence against her
enemies.
- David stands triumphant (cocky) after defeat of Goliath- his head beneath
David’s feet
- Erotic aspects in bronze, adolescent nudity, feather running up back of leg
and phallic sword
Michelangelo, David, High Renaissance
- public commission originally for Cathedral then placed in front of Palazzo
Vecchio as symbol of the Republic
- frontal, adult nudity - heroic body type with anatomy and musculatureolder
- represented as preparing for battle rather than after- tension
- contrapposto
Masaccio
Tribute Money
Early Renaissance
1) one-point perspective- vanishing point at Jesus’ head, which
directs attention towards him as the central character in the
scene. Action revolves around him.
2) atmospheric perspective- the landscape fades to white and
blurs in the far distance to create a believable space for the
action of the narrative to occur within
Masolino
Temptation of Adam & Eve
Early Renaissance
suspended in space
emotionless
gothic
true anatomy
perfect creatures before the fall
eve is pure and ideal
sepent with female face
seduced by the sepent bc it looks like her
eve lures adam to take the fruit
Masaccio
Expulsion of Adam & Eve
Early Renaissance
casted out of garden by angel
self awareness
dramatic
eve covering herself - aware of sexuality, fertility, and 1st mother, pain foreshadows childbirth.
adam - head covered in shame for knowledge/awareness
brancacci chapel
opposite of each other
no green stuff, left the green lush
adam has to work for green for man
Masaccio
Holy Trinity
Early Renaissance
one point perspective - below jesus’ cross
god- holy spirit - jesus
quote means: eventually everyone dies
illusion of space in private cathedral - santa maria novella
right to have portrait and buried there
lowest ledge - man and wife - commisoners : admiration
2nd: mary and john - closer level to divine
god holding jesus up
not alone
dove
Robert Campin
Mérode Altarpiece (Triptych of the Annunciation)
Early Renaissance
portrait of patron on the left
joseph - carpenter (fatherhood) and mary motherly in the middle. madonna of humility
angel gabriel comes down and tells mary that shes going to have a child
light - penetrate
Three lillies: purity of the Virgin,
Trinity- one still in a bud form, March
25
Bible: the word made flesh
Snuffed candle: end of the Old
Testament
White towel: virgin without stain
holy ghost - comes down into flesh to become child in womb
porportions are incorrect
jesus tiny + cross coming down from window without breaking - metaphor of keeping virginity
Florentine Artist
Portrait of a Man
Early Renaissance
Jan van Eyck
Man in a Red Turban (Self-Portrait)
Early Renaissance
- Oil paint
- Dries slowly so that colors can be blended
- Translucent so glazes can be created and added to enhance coloristic
effects and effect of three-dimensionality
- Oil paint allows sfumato and makes the work more luminiscent
- Oil paint can be reworked on the surface of the panel or canvas to create
textural effects
- With van Eyck- portrait features are more lively and realistic; difference in
textures of skin and cloth
Florentine Artist, Portrait of a Man, Early Renaissance
- Tempera paint
- Dries quickly so the design must be complete before color is added
- light and shadows must be applied in segments- beside each other-
- opaque so colors cannot be blended
- mineral pigments- bright colors
- thin paint that creates a flat, even surface
Jan van Eyck
Arnolfini Wedding Portrait
Early Renaissance
van eyck was here above the mirror
- hes in the mirror
Sandro Botticelli
Primavera
Early Renaissance
north wind/zephyr, cold. coming winter into spring, not fruiting on his side
goldwind to mouth- flowers coming out of flora, pushing trees
nympth - becomes bride, composed, happy
coming of spring
neoplatonic
procreate beauty - active material
contemplate beauty- divine and spiritual
canises/camecha- lingene
give love-ils return farms a circle
elegance spirital
month of may - conlcusion of spring
elegance
wings on feet and helmet
sword - conducious dragons on it, harmony union
Botticelli
Birth of Venus
Early Renaissance
Leonardo da Vinci
Last Supper
High Renaissance
located in refrectory/cafeteria
live the different virtues of apostles
one point perspective
jesus eating with them in the center
medium not true fresco technique
mold form on the painting
white lead mixe of tempera and oil
illusion of continuation
vanishing point
shape of a trinity
frame a central window
glow around instead of halo
reaching for bread and wine
figure of judas reaching out for bread, holding a bag of silver and coins
caricature
john the beloved
the youngest deciple
prayer:
peter- sacrificial lamb, chosen one - church
holds knife, cuts one of the ears of the soldiers
groups of 3.
thomas - fingers exaggerated touches wound, pointing up
james - hands /arms in disbelief and the shape of a cross
philip - sense of humility and innocence
Christ
Central figure and placed along the
perspectival orthogonals; red and
blue; window as door; triangle=trinity
He announces: “One of you is about
to betray me.”
Last Supper
Christ announces his betrayal and
death (identifies Judas). John 13:
“He it is to whom I shall reach bread
dipped.”
Establishes the Eucharistic liturgy
with its promise of salvation. “This is
my body which is given for you. Do
this in commemoration of me.”
Leonardo da Vinci
Mona Lisa
High Renaissance
A portrait of Madonna Elisabetta Gherardini who was married to the
Florentine merchant Francesco del Giocondo
[Machine generated alternative text:]
sfumato:
literally smoky
a technique in painting in which
black is added to hues, tones are
subtly graduated, and contours
blurred to create a soft, hazy
appearance.
curve her body
mystique
abiguity
clothing
remove her from contemporary
dark brown - light
Michelangelo
Pietà
High Renaissance
cardinal jean de biheres for burial chapel contract - the most beautiful work in marble which exist today in rome
2 figures in one marble
concetto
ideal - concept
bad positioning
mary looks so young
contains heavenly beauty
stayed virgin
divine motherhood/beauty
deep facial appearance exaggerated
deep carving - liberty
copy placed outside
Michelangelo
David
High Renaissance
deep facial appearnce exaggerated
deep carving
liberty
copy placed outside
- public commission originally for Cathedral then placed in front of Palazzo
Vecchio as symbol of the Republic
- frontal, adult nudity - heroic body type with anatomy and musculatureolder
- represented as preparing for battle rather than after- tension
- contrapposto
Michelangelo
Sistine Chapel Ceiling
High Renaissance
creation of adam and eve and fall
leads to the flood and creates agriculture?
life of jesus and moses
end of humanity last judgment on the last wall
fresco
moveable bridge
assistants helped grind pigments, transfer drawings
florentine art
can’t do in venice bc moisture
looks toward alter
started with noah - had many figures. realized it cant be seen from the floor
changed to one or 2 figures
angels- complex figures
sun and moon creation
god separating light and darkness
Fresco
Intonaco: wet plaster
Pigments: diluted in water
Binder: lime of the plaster
Cartoon: drawing to transfer
Giornata: day of painting
Michelangelo
Creation of Adam
High Renaissance
contrasting statement
god’s hand forced out
liveliness
analysis of brain shape
made adam from earth
not touched by god yet/no breath.
leaving, curved it, lack energy limp hand
angels without wings
not interested in wings
embraces female eve represented, jesus in the picture next to her
had gestures in a diagonal
open to closed gestures/postures
aged in body
immortality gone after sin
Michelangelo
Temptation and Expulsion
High Renaissance
”
creation of adam
contrasting statement
god’s hand forced out
liveliness
analysis of brain shape
made adam from earth
not touched by god yet/no breath.
leaving, curved it, lack energy limp hand
angels without wings
not interested in wings
embraces female eve represented, jesus in the picture next to her
had gestures in a diagonal
open to closed gestures/postures
aged in body
immortality gone after sin creation of adam
contrasting statement
god’s hand forced out
liveliness
analysis of brain shape
made adam from earth
not touched by god yet/no breath.
leaving, curved it, lack energy limp hand
angels without wings
not interested in wings
embraces female eve represented, jesus in the picture next to her
had gestures in a diagonal
open to closed gestures/postures
aged in body
immortality gone after sin”
Raphael
Disputà
High Renaissance
sacrament of eucharist: bread and wine transubstantiated both theology and spiritually
circle: perfect and never ending - god
holy trinity and holy spirit in painting
rectangle - cycle life on earth
seasons, temps
mans duo nature
Raphael
School of Athens
High Renaissance
gods inspiration and reasoning
plato and aristotle - distinguish
2 realms : plato: old, unkempt and barefood - point to heaven
artistotle - firm, reached out - parallel to earth. planted on earth
diagrams show
ethics books - horizontal
stairs separate pure philosophy from mathmaticians
harmonic porportions
euclid - and other astronomy
self- portrait
one philosopher out of place
michelangelo araclisti??
resting on the block of marble out of place immobilized waiting for inspiration
new artist
water pased paint on paper - sketch
michel wan’t originally part of painting, series of sketchy and drawing
Titian
Madonna with Rabbit
High Renaissance
Colorito: Venetian style of painting that emphasized color and
light over line and form; process of the application of paint is
important; bold brushstrokes with oil on canvas.
oil
Michelangelo
Doni Tondo
High Renaissance
tempera
Disegno: Florentine style of painting that emphasized design
preparation based on preliminary drawing; focus on line and
form, modeling wiht light and shadow; tempera paint and fresco.
Titian
Assumption of the Virgin
High Renaissance
commissioned for Venetian Church of the Frari (the Franciscan Basilica of Santa Maria Gloriosa die Frari)
monumental alterpiece
“Glorious Saint Mary”
painting conveys light through color
subject is Mary ascending to heaven
23 ft high
painted on wood paneling instead of canvas
Mary is assumed after 3 days of sleep into heaven
painting is divided into 3 levels
bottom, mid-realm with Mary, top level with God
alter piece is separated by a rue(?) screen
compare to Raphael - uses real gold
red as a color of love and passion - Mary in red ascending to God
