Ren Final Flashcards
Sassetta, St. Francis in Ecstasy, San Sepolcro Altarpiece, 1437-44
- Patriarch of the poor
- Mandella- almond shape
- Three virtues at the top; poverty, raggedy dress; charity, holding flowers; obedience, yolk
- At the bottom is the opposite of the virtues; lust, looking at a mirror and sitting on a boar; greed, bag of coin falling out; wrath, war like
- St. Francis standing on the vices
- The entire altarpiece is surrounded around the theme of poverty
Sassetta, Marriage of St. Francis to Lady Poverty, San Sepolcro Altarpiece, 1437-44
Showing his commitment to the virtue poverty
Jacopo della Quercia, Ilaria del Carretto Tomb Monument, 1406
Jacopo della Quercia, Fonte Gaia, Siena, 1408-19
The happy, gay fountain
1.Jacopo della Quercia, Creation, Expulsion, and Adam and Eve at Work, San Petronio, Bologna, 1425-39.
- Alberti, Tempio Malatestiano, Rimini, 1450
- Filled niche space in the front
- There is no religious indication that it’s a Christian church
Agostino di Duccio, Signs of the Zodiac: Aquarius; Diana, Rimini, 1450s
- Matteo de Pasti, Medal of Isotta degli Atti, 1446
- Rose bush
- Elephant
1.Pisanello, Medal of Sigismondo Malatesta, 1445
1.Bernardo Rossellino, Plan of Pienza, 1462
1.Pisanello, Medal of Alfonso V of Aragon, 1449
1.Triumphal Arch of Alfonso of Aragon and detail, Naples, 1453-71
- Piero della Francesca, frescoes from the Legend of the True Cross, Arezzo, 1450s: Meeting of Solomon and Sheba
- Adds the annunciation although it’s not apart of the original story
- When Adam dies, the tree that sprouts over his grave becomes sacred; the wood gets buried and then Christ is crucified on iti
- Piero della Francesca, frescoes from the Legend of the True Cross, Arezzo, 1450s: Discovery and Proof of the Cross
- Adds the annunciation although it’s not apart of the original story
- When Adam dies, the tree that sprouts over his grave becomes sacred; the wood gets buried and then Christ is crucified on iti
1.Luciano Laurana, the Ducal Palace of Urbino, 1465
- Studiolo of Federico da Montefeltro, Ducal Palace of Urbino, 1476
- A place where someone would go alone in order to read and study
- Would have paintings on scholars and men around the room
- Piero della Francesca, Portraits of Battista Sforza and Federico da Montefeltro, 1472 (front and back)
- Portraits become very popular within the courts
- Man is with water, sign of movement and trade
- Woman is with land, sign of fertility
- Reverse: Triumph of Federico and Battista
Montefeltro medal
- Ball is a symbol of balance
- One side is military skills; swords, armor
- Venus and love on the other side; learning and education
- Piero della Francesca, Flagellation, 1460
- Divided with two different time periods
- Before Christ is crucified he is wiped by his captors
- Helios (god of the sun) at the top of the column (pagan) in a classical room
- Pontius pilot sitting in the background
- The three people to the right look like a man from the eat, an angel, and a Duke
- Piero della Francesca, Madonna and Child with Saints, 1472
- A great battle that Federico was victorious
- Egg over the Madonna’s egg
- The women in the back are wingless angels
1.Pedro Berruguete or Justus of Ghent, Federico da Montefeltro and his Son Guido Baldo, 1476
- Antonio Pisanello, St. George and the Princess, Sant’Anastasia, Verona, 1430s, fresco
- Good at depicting animals and nature
- Two men hanged in the background; makes it more naturalistic
- Antonio Pisanello, Vision of St. Eustace, 1440
- Supposed to be from the time of Trajan
- Becomes a maredered and roasted alive because he became Christian
- Antonio Pisanello, Medal of Leonello d’Este, 1444
- Lion- relates to his name
- Eros or cupid relating to love
- Lion and cupid is how love calms the beast
- Antonio Pisanello, Portrait of Leonello d’Este, 1441
- Recognizable hair and head shape
1.Francesco del Cossa, fresco from the Hall of the Months (April), Schifanoia Palace, Ferrara, 1460s-70s
1.Alberti, Sant’Andrea (facade, plan and interior), Mantua, 1472
1.Andrea Mantegna, San Zeno altarpiece, 1456
1.Andrea Mantegna, Saint Sebastian, 1450s-70s
1.Andrea Mantegna, Camera Picta (Ludovico Gonzaga with his Family and Courtiers), Ducal Palace, Mantua, 1465-74, fresco
1.Andrea Mantegna, oculus from Camera Picta, Ducal Palace, Mantua, 1465-74, fresco
1.Andrea Mantegna, Parnassus, 1499-1502
1.Andrea Mantegna, Athena (Pallas) Expelling the Vices, 1499-1502
- Sandro Botticelli, Madonna of the Pomegranate, 1480
- Pomegranate represents rebirth and resurrection
- Sandro Botticelli, Adoration of the Magi, 1470s
- Classical building and ruins
- Reminder that the old Pagan life is gone and Christian life is coming/ present
- The artist is all the way to the right and the same size as the other figures
- The patron is to the right behind a few people, looking at the artist
- The Medici brothers are to the left of the painting
- Sandro Botticelli, Primavera, 1480
- Goddess of Spring—Pagan concept
- The three graces—gift giving, what goes around comes around
- Cupid at the top
- Zephyr, the west wind, to the right
- Mercury to the left, seasons will change and fertility will be alive
- Cloris and Flora to the right
- Medici commission
- Mimicking tapestries
- Orange trees is to recall Medici coat of arms
- Cloris and Flora is being chased by Zephyr, he rapes Cloris and then they fall in love and then he turns her into Flora, goddess of flowers
- Primavera looks pregnant
- Sandro Botticelli, Birth of Venus, 1480
- Almost manneristic forms
- Elongated features on Venus—the fingers
- Cronus cuts off the genitals of his father Uranus, from the genitals and the sea foam, Venus is born in the ocean, she comes ashore on an oyster shell
- Dedicated to earth, beauty and mystical, spiritual
- Zephyr and Aurora- the west wind
- Woman represents spring, covered in flowers and roses
- Sandro Botticelli, Camilla and the Centaur, 1482
- Was next to the Primavera in its original location
- She seems to represent chastity
- Centaurs usually represent lust
- She is taming him, restraining him
- Medici commission—on her clothes there is a symbol of the Medici—three diamond rings
- Sandro Botticelli, Man with a Medal, 1460s-70s
- Shown engaged with the viewer
- Holding a medal (it is raised from the panel due to gilding) showing Medici
- Learned landscape from Lippi (he knew a lot about Northern landscape)
1.Sandro Botticelli, St, Augustine in his Study, 1480, fresco
1.Sandro Botticelli, St. Augustine in his Study, 1490s, tempera on panel
- Sandro Botticelli, Mystic Nativity, 1500
- They didn’t know what would happen when it turned 1500, similar to how we didn’t know what would happen when it turned 2000
- Angels embracing each other at the bottom
- Demons at the bottom as well
Giuliano da Sangallo, Medici Villa at Poggio a Caiano, Florence, 1480s
- Giovanni and Bartolomeo Bon and Matteo Raverti, Ca’d’Oro (Contarini Palace), Venice, 1421-37
- Similar to Medici Palace in Florence
1.Gentile Bellini, Portrait of Sultan Mehmet II, 1479
1.Gentile Bellini, Procession of the Reliquary of the True Cross in Piazza San Marco, 1496
1.Vittore Carpaccio, Miracle at the Rialto, 1494
1.Giovanni Bellini, San Zaccaria Altarpiece, 1505
1.Giovanni Bellini, Saint Francis, 148
