N Renaissance Painting Exam 2 Flashcards by Maggie Simmons

Before Christ Herod

woodcut

ca. 1400

_____

artist had to cut all of the white areas
similar works are all very simple in detail and form due to the amount of cutting that had to be done
no indication of setting

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Master of the Playing Cards

King of the Wild Men

engraving

ca. 1440s

_____

also popular, secular items that were made from prints
uses more lines to define the image
quite a variety of strokes

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Master E.S.

Einsiedeln Madonna

engraving

1466

_____

very elaborate image
probably made to commemorate the 500th anniversary of a chapel dedicated to the virgin mary

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Master E.S.

Samson and Delilah

engraving

ca. 1460

_____

prints not generally commissioned by a patron
printmakers had more artistic freedom

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Martin Schongauer

Nativity

engraving

1470-75

_____

quite a lot of detail in Mary’s drapery
inspired by paintings of the subject, which Martin used for reference

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Martin Schongauer

Flight into Egypt

engraving

ca. 1470-75

_____

so detailed…showing bark in the trees, shadows giving depth from background to foreground
achieved through an inventive approach to composition and his versatility as an artist

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Martin Schongauer

Temptation of St. Anthony

engraving

ca. 1470-75

_____

his most famous engraving
he zeroes in on the figure, surrounding him with a variety of demons
has incredible control of stroke
varying weight, length and spacing of his lines in order to get his iconography across

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Martin Schongauer

Death of the Virgin

engraving

ca. 1470-75

_____

monogram is prominent at the bottom
so complex, very elaborate candle stick in the foreground
carefully included a variety of emotions and sense of perspective/space

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Martin Schongauer

The Road to Calvary

engraving

ca. 1475

_____

very ambitious in terms of scale and complexity
variety of strokes to capture the essance of light
great example of light lights and dark darks…depth

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Israhel van Mekenem the Younger

Self-Portrait with his Wife Ida

engraving

ca. 1490

_____

most prolific of all 15th century german engravers, clocking in at over 600 different engravings…very very active
first engraver as we know to create a self portrait
indication of print making moving up the ladder as something with more value

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Israhel van Meckenem

Mismatched Lovers

engraving

_____

shows a large age difference between the lovers, wouldn’t normally be acceptable in paintings, but is more common in engravings

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Master of the Amsterdam Cabinet

Aristotle and Phyllis

drypoint

ca. 1480

_____

example of a secular themed work

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Tilman Riemenschneider

Passion Altarpiece

[details of mourning women, St. John, Caiaphas, and Soldiers]

painted limewood

Munich

1485-90

_____

became an independent master
important stylistic features: lots of emotion with faces and posing
very detailed drapery on the clothing - you can tell there’s a body beneath the clothing
complex arrangement of folds

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Tilman Riemenschneider

Munnerstadt Altarpiece

[with details of the 4 Evangelists]

limewood

Munnerstadt, Church of Mary Magdalen

1492

_____

all documents still survive
a commission for the church of Mary Magdalen
small but prosperous town
built in a gothic church
the iconography was supposed to center on Mary Magdalen, the patron saint of the church
she is centered, flanked by two local saints
four evangelists down below
reliefs from her life are at the side
she is ascending to heaven in this depiction, being carried up by all the little angels

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Tilman Riemenschneider

Munnerstadt Altarpiece

[detail: Mary Magdalen]

1492

_____

the iconography was supposed to center on Mary Magdalen, the patron saint of the church
she is centered, flanked by two local saints
four evangelists down below
reliefs from her life are at the side
she is ascending to heaven in this depiction, being carried up by all the little angels

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Tilman Riemenschneider

Madonna and Child on a crescent moon

painted limewood

Vienna

ca. 1505-10

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Tilman Riemenschneider

Holy Blood Altarpiece

limewood

1501-05

_____

in the chapel of the Holy Blood, named for the most famous relic that the church owns, a drop of Christ’s blood
the iconography is driven by the identity of the relic
the central subject is the last supper, when Christ establishes the sacrament of the Eucharist

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Tilman Riemenschneider

Holy Blood Altarpiece [detail]

limewood

1501-05

_____

in the chapel of the Holy Blood, named for the most famous relic that the church owns, a drop of Christ’s blood
the iconography is driven by the identity of the relic
the central subject is the last supper, when Christ establishes the sacrament of the Eucharist

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Albrecht Dürer

Self-Portrait Drawing at 13

silverpoint

1484

_____

the earliest he created
a silverpoint drawing
first artist to sign and date many of his drawings
went back through much later and inscribed his drawings

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Albrecht Dürer

Self-Portrait with Eryngium

Louvre

1493

_____

painted his portrait in the context of his marriage arrangement/engagement
fancy clothing, looking his “best”
holding a flower that was considered to be symbolic of “luck in love”

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Albrecht Dürer

Dürer’s Mother

black chalk drawing

1514

_____

black chalk drawing…single medium
forehead wrinkles are really fine lines, with contrasting deep shadows
very detailed, but unidealized portrait of an older woman

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Albrecht Dürer

Self-Portrait

1498

_____

here he is morphed into a total dandy
beautiful curly hair, dressed in the italian style
uses an italian format for the composition

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Albrecht Dürer

Self-Portrait

1500

_____

his last autonomous self portrait
representing the artist as Christ
rigidly frontal view, giving it an iconic quality to it
hand is pointing back to himself, reminiscent of a gesture similar to one that means “Christ as judgment-er of the world”
brilliantly illuminated figure against a really dark background - nothing is competing for our attention as the viewer

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Albrecht Dürer

St. Jerome

woodcut

1492

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Albrecht Dürer Vision of the 7 Candlesticks, from the Apocalypse, woodcut 1498 \_\_\_\_\_ - really big woodcut illustrating the book of Revelation - lots of complexity and ambition never seen before - marked with his monogram - 7 is a popular number in this book because - such great visual detail that had never been done before in a print - all the subtle variations in line work

Albrecht Dürer The Beast with Two Horns, from the Apocalypse woodcut 1498 \_\_\_\_\_ - figured out how to crown a creature with horns - new and revolutionary in this one: much more dimensionalized compared to flatter past depictions - line is really important in this print, lots of variety - using line to create lots of different texture…hatching, movement, etc. - creates the feeling of a different texture or substance through his use of line throughout the print

Albrecht Dürer The Four Horsemen of the Apocalypse, from the Apocalypse woodcut 1498 \_\_\_\_\_ - personifications of destructive forces that were very much a part of every day life - there were actual outbreaks of plague, war, etc.

Albrecht Dürer Madonna with a Dragonfly engraving ca. 1495

Albrecht Dürer The Prodigal Son Amid the Swine engraving ca. 1496 \_\_\_\_\_ included a preparatory drawing

Albrecht Dürer The Four Witches engraving 1497 \_\_\_\_\_ - prime time for witch hunts in Germany - mastering the female body form is hard, but Durer works on getting there

Albrecht Dürer Hercules at the Crossroads/The Combat of Virtue and Pleasure before Hercules engraving ca. 1498-99

Albrecht Dürer Large Piece of Turf watercolor drawing 1503 \_\_\_\_\_ - also focused on small natural elements to watercolor - Durer is the first European artist to take an interest in watercolor and develops it as an art form in its own right

Albrecht Dürer The Rabbit watercolor drawing 1502

Albrecht Dürer Left Wing of a Bird watercolor drawing 1512

Albrecht Dürer Blue Roller watercolor and gouache drawing 1512

Albrecht Dürer St. Eustace engraving ca. 1501 \_\_\_\_\_ - detailed naturalism - breathtakingly detailed rendering of the landscape - dozens of types of trees, grasses and shrubs - little stone bridge over the river with reflections in the water! - the horse and dogs were each studied in breathtaking detail - you almost get to the iconography after observing the detail! - a Christian subject…the story of a 3rd Century Roman soldier who was out hunting - just before he goes to shoot the stag, a crucified Christ is in the stag’s antlers…drops to his knees and converts to Christianity after seeing this

Albrecht Dürer The Fall of Humanity engraving 1504 \_\_\_\_\_ - this is where we see Durer in his development stages - detailed naturalism and concentrated line work - inclusion of lots of animals in the background - parrot above adam is a symbol of wisdom - shows his study of human anatomy and proportions - his signature and date is hanging on a tag off the branch - it’s the last time he signs his name in a print rather than using his monogram

Albrecht Dürer Feast of the Rose Garlands 1506 \_\_\_\_\_ - one of his most ambitious paintings from Italy - commissioned for a church in Venice - in very poor condition …the central figures have pretty much been completely repainted - the virgin and child are flanked by the pope at the left and by the emperor at the right (each being crowned with rose garlands) - St. Dominic crowns members of the clergy - a celebration of the virgin mary (rose is a flower associated with her) - bringing together the secular and religious realms

Albrecht Dürer Adoration of the Magi 1504 \_\_\_\_\_ - right before his departure from Italy - painted for Frederick the Wise - pretty traditional subject - ruined buildings in the background signifying the old order (no new innovative representation of theological ideas)

Albrecht Dürer Adoration of the Trinity 1511 \_\_\_\_\_ - a few years after his departure from Italy - colors are much more vivid than the above work - much more spacial recession - also includes a self portrait in the lower right corner

Albrecht Dürer Life of the Virgin: Flight into Egypt woodcut ca. 1504 \_\_\_\_\_ 20 woodcuts representing her life

Albrecht Dürer Life of the Virgin: Nativity woodcut ca. 1504 \_\_\_\_\_ 20 woodcuts representing her life

Albrecht Dürer Engraved Passion: Lamentation 1507 \_\_\_\_\_ - a whole series on the passion of Christ - shows lots of emotion - made to be affordable to more ordinary people

Albrecht Dürer Engraved Passion: Man of Sorrows by the Column 1509 \_\_\_\_\_ - a whole series on the passion of Christ - shows lots of emotion - made to be affordable to more ordinary people

Albrecht Dürer St. Jerome by the Pollard Willow drypoint 1512 \_\_\_\_\_ - Durer briefly did drypoint

Albrecht Dürer Knight, Death, and the Devil engraving 1513 \_\_\_\_\_ - he immerses himself in engraving after dabbling with drypoint - he droops everything else…nothing but engraving for about 2 years - during those 2 years, he produces his “three master prints” - monogram is again incorporated into perspective - the animals are ignoring the threats

Albrecht Dürer St. Jerome in His Study engraving 1514 \_\_\_\_\_ - lots of depth in this engraving - skull is a reminder of human mortality - kind of a cheery room despite the skull - dog and lion sleeping in the sun that is illuminating his study

Albrecht Dürer Melencolia I 1514 \_\_\_\_\_ - very original subjects - the title is inscribed on the upper left with a shrieking bat - a woman is seated (she’s winged, making her a superior) but she doesn’t look very happy - her hands rest in her hands and her face rests in shadow - she’s inactive, staring into space - surrounded by disorder…lots of things scattered around her - she’s not being productive at whatever job she’s supposed to be doing - illustration of the melancholic temperament…she’s paralyzed by her melancholy - perhaps a “creative block” of sorts - sums up anxieties of the artist...he warned his pupil of the danger of too intensive thinking about art

Daniel Hopfer (ca. 1470-1536) The Large Choir Stalls with Christ blessing the Virgin etching (iron) \_\_\_\_\_ - one of the first artists to experiment with etching - from oxford, a printmaking hot spot in germany - originally seen in armor decoration - the lines that cut into the metal are the lines that print - monogram included 3 times

Albrecht Dürer Abduction of Proserpina on a Unicorn etching 1516

Albrecht Dürer St. Anthony Before a City engraving 1519

Albrecht Dürer Portrait of Erasmus engraving 1527 \_\_\_\_\_ - one of his most important engraved portraits

Albrecht Dürer St. Jerome 152

Albrecht Dürer Preparatory Drawing Albertina

Albrecht Dürer The Four Apostles 1526 \_\_\_\_\_ - his last major painting - unusualy hierarchy for the formation of the apostles

Matthias Grunewald Isenhaim Altarpiece [Exterior] 1509-15 \_\_\_\_\_ - patron was Guido Guerci - crucifixion as central scene - entombment/lamentation below - flanking central panel is St. Anthony and St. Sebastian (both are saints associated with hospitals) - John the Baptist isn’t typically at the crucifixion scene…he’s here now because - Mary unusually dressed in white…looks like she’s wrapped in what a dead person gets wrapped in, maybe her purity - Christ is oversized, filling the height of the altarpiece… he looks horrifying, his body is covered in wounds and his lips are black in death - Mary Magdalen

Matthias Grunewald Isenhaim Altarpiece [Drawing of a Woman] 1509-15 \_\_\_\_\_ - patron was Guido Guerci

Matthias Grunewald Isenhaim Altarpiece [Resurrection] 1509-15 \_\_\_\_\_ - patron was Guido Guerci - Christ is absolutely no longer human, he’s dissolved in light and color, rises before us in this divine pose

Matthias Grunewald Isenhaim Altarpiece [Annunciation] 1509-15 \_\_\_\_\_ - patron was Guido Guerci - curtain is revealing the annunciation to us as if it were a theatrical production of some kind

Matthias Grunewald Isenhaim Altarpiece [Angel Concert + Nativity] 1509-15 \_\_\_\_\_ - patron was Guido Guerci - kind of a gothic church, organic quality to the construction, really inventive with color, supernatural light around Mary - mary sits on the wall of a garden…traditional symbols like flowers, Christ-child inclusion of rosary.

Matthias Grunewald Isenhaim Altarpiece [First Opening] 1509-15 \_\_\_\_\_ - Annunciation - Ressurection - Angel Concert - Madonna + Child

Matthias Grunewald Isenhaim Altarpiece [Second Opening] 1509-15 \_\_\_\_\_ - patron was Guido Guerci - Central panels with sculpture showing St. Anthony between St. Augustine and Jerome SCULPTURES BY NICOLAS HAGENAU - Meeting of Saints Paul and Anthony… gesturing towards each other, accepting life of the natural world

Matthias Grunewald Isenhaim Altarpiece [Meeting of St. Paul + Anthony] 1509-15 \_\_\_\_\_ - patron was Guido Guerci - gesturing towards each other, accepting life of the natural world