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Renaissance and Baroque > Test #2 (2.0) > Flashcards

Test #2 (2.0) Flashcards

Chapters 21 + 22

1
Q

Florence:

A

Played the most important role in the development of Renaissance ideas and art forms in the early 15th century.

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2
Q

4th and 15th century painting and sculpture in Italy can be understood as an attempt by artists to capture THIS:

A

Naturalism.

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3
Q

Naturalism:

A

Attempt to mimic what you SEE.

*Artists tried to represent on a 2-dimensional surface what is seen by the human eye:
- The EFFECT OF RECEDING SPACE.
- The BULK AND WEIGHT OF FIGURES and objects and THEIR TIE TO GRAVITY.

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4
Q

Tenets of Renaissance Humanism:

A
  1. AN EMPHASIS ON EDUCATION and on expanding knowledge (Especially of classical antiquity).
  2. The EXPLORATION OF INDIVIDUAL POTENTIAL and a desire to excel.
  3. A COMMITMENT TO CIVIC RESPONSIBILITY and moral duty.
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5
Q

The intersection of art with humanist doctrines is evident in the following:

A

*Popularity of subjects selected from CLASSICAL MYTHOLOGY.

*Increased concern with DEVELOPING PERSPECTIVE SYSTEMS.

*Concern with depicting ANATOMY accurately.

*Citizens’ extensive commissions of CIVIC AND RELIGIOUS ART.

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6
Q

Sacrifice of Issac:
(THIS IS THE BRONZE ARTWORK WITH THE MULTIPLE FIGURES IN THE MIDDLE OF THE WOODEN WALL)

A

Created by: LORENZO GHIBERTI

Competition panel for the east doors of the Baptistery of San Giovanni

Florence, Italy 1401-1402

Created using Gilded Bronze.

*The nude figure of Issac is the 1st truly ideal Renaissance nude since antiquity.

*Altar on which Isaac kneels emulates antique models.

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7
Q

Saint Mark:

(THIS IS THE WHITE MARBLE STATUE WITH THE WHITE ARCHES AROUND IT)

A

Created by: DONATELLO

Statue in a niche on the south side of Or San Michele

Florence, Italy 1411-1413

Created using Marble.

*Donatello introduced classical weight shift stance of the ancient Greeks (aka CONTRAPOSTO) into Quattrocento sculpture.

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8
Q

Linear Perspective:

A

*Created by FILIPPO BRUNELLESCHI

*Enables artists to determine mathematically the relative size of rendered objects to correlate them with the visual recession into space.

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9
Q

Atmospheric Perspective:

A

The farther back an object is in space, the blurrier and less detailed it appears.

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10
Q

Donatello’s Bronze David:

A

Commissioned for the Palazzo Medici courtyard.

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11
Q

David:

(THIS IS THE METAL STATUE WITH ONE OF HIS HANDS ON HIS HIPS, AND A SWORD STABBED IN THE GROUND)

A

Created by: DONATELLO

Statue in the Palazzo Medici.

Florence, Italy (1440-1460)

Created using Bronze.

*Started the REVIVAL of the FREESTANDING NUDE STATUE:
- 1st Renaissance sculptor to portray the nude male figure in statuary was DONATELLO.
- The invoking of classical poses and formats also appealed to the Medici as HUMANISTS.

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12
Q

REVIVAL of the FREESTANDING NUDE STATUE:

A

*1st Renaissance sculptor to portray the nude male figure in statuary was DONATELLO.

*The invoking of classical poses and formats also appealed to the Medici as HUMANISTS.

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13
Q

Adoration of the Magi:
(THIS IS THE BIG PAINTING WITH THE GIANT CROWD OF PEOPLE ON THE RIGHT SIDE WALKING TOWARDS MARY AND THE CHRIST CHILD, WITH THE WHOLE PAINTING SURROUNDED BY GOLDEN ARCHES)

A

Created by: GENTILE DA FABRIANO

Altarpiece from the Strozzi chapel.

Florence, Italy (1423)

Created using Tempera on wood.

*Style is fundamentally International
Gothic BUT Gentile inserted striking NATURALISTIC DETAILS:
- Example: He depicted animals from a variety of angles and foreshortened the forms convincingly.

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14
Q

Tribute Money:
(THIS IS THE PAINTING THE MEN, WITH ROBES, WITH HALOS ON THEIR HEAD, DISCUSSING AND SHAKING HANDS, WITH THE HOUNTAINS IN THE BACK)

A

Created by: MASACCIO

Mural in the Brancacci chapel, Santa Maria del Carmine.

Florence, Italy (1424-1427)

Created using Fresco technique.

*Masaccio created a sense of bulk in his figures in Tribute Money through modeling with a specific light source that appears to come from OUTSIDE the picture.

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15
Q

REMEMBER DETAILS OF THIS ONE:

Holy Trinity:
(THIS IS THE PAINTING JESUS ON THE CROSS IN THE MIDDLE OF THE 4 PEOPLE ACCROSS FROM HIM ON THEIR KNEES, INSIDE OF AN ARCH)

A

Created by: MASACCIO

Mural inside Santa Maria Novella

Florence, Italy (1424-1427)

Created using Fresco technique.

*Principal Renaissance interests embodied in Masaccio’s Holy Trinity:
1) Naturalism based on observation
2) The application of the new science of PERSPECTIVE
*Coffered barrel-vaulted chapel is reminiscent of a Roman triumphal arch.

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16
Q

Principal Renaissance interests embodied in Masaccio’s Holy Trinity:

A

1) Naturalism based on observation.

2) The application of the new science of PERSPECTIVE.
*Coffered barrel-vaulted chapel is reminiscent of a Roman triumphal arch.

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17
Q

Dome:
(THIS IS THE DOME LOOKING NORTH OF THE CATHEDRAL OF SANTA MARIA DEL FIORE)

(DOME WITH RED ROOF ON TOP, WITH A WHITE AND GOLDEN POINT AT THE TOP)

A

CREATED BY BRUNELLESCHI.

Florence, Italy (1420-1436)

*Brunelleschi solved the problem
of placing a dome over the 140-foot
crossing of Florence’s cathedral by
designing a thin double shell (the first
in history) around a skeleton of
24 ribs.

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18
Q

THE PAINTING WITH THE WOMEN IN THE FOREST PICKING APPLES OFF OF TREES AND TALKING TO EACH OTHER’s Importance:

A

Botticelli’s work is a testament to the intense interest that Quattrocento humanist scholars and the Medici had in the art, literature, and mythology of the Greco-Roman world.

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19
Q

Birth of Venus:
(THIS IS THE PAINTING WITH THE NAKED WOMAN IN THE MIDDLE, STANDING ON THE SHELL, WITH 2 PEOPLE RUNNING TOWARDS HER)

A

Created by: BOTTICELLI.

Florence, Italy (1484-1486)

Created using Tempera on Canvas

*Many humanists sought to reconcile the ideas they found in Greek and Roman authors with Christian beliefs.

*So, Botticelli’s revival of the theme of the female nude is consistent with the humanist Quattrocento view that beholding physical beauty prompts the contemplation of spiritual beauty.

20
Q

Christ Delivering the Keys of the Kingdom to Saint Peter:
(THIS IS THE PAINTING TITLED WHAT THE ARTWORK IS DOING, ON THE WHITE FLOOR, WITH SMALL FIGURES RUNNING IN THE BACK)

A

Created by: PERUGINO

Mural in the Sistine Chapel Vatican.

Rome, Italy (1481-1483)

Created using Fresco technique.

21
Q

What’s the significance of the duplicate triumphal arches on each side?

A

*Based closely on the Arch of Constantine in Rome.

*Served to underscore the close ties between Saint Peter and Constantine

22
Q

Battista Sforza and Federico da Montefeltro:
(THIS IS THE PAINTING WITH THE WOMAN ON THE LEFT AND THE MAN ON THE RIGHT LOOKING AT EACH OTHER)

A

Created by: PIERO DELLA FRANCESCA

(1472-1474)

Created using oil and tempera on wood in modern frame.

*Depicted in profile to emulate the profile portraits on ANCIENT ROMAN coins.

*BUT ALSO in part to conceal the disfigured right side of Federico’s face.

23
Q

Interior of the Camera Picta:
(THIS IS THE PAINTED CHAMBER)

A

Created by: ANDREA MANTEGNA

Mantua, Italy (1465-1474)

Created using the Fresco technique.

*Mantegna produced the first completely consistent illusionistic decoration of an entire room.

24
Q

Madonna of the Rocks:
(THIS IS THE PAINTING WITH THE WOMAN SURROUNDED BY THE 2 CHILDREN AND LADY AT THE RIGHT)

A

Created by: LEONARDO DA VINCI

From San Francesco Grande.

Milan, Italy (1483-1490)

*A PYRAMIDAL GROUPING compositional technique unites the figures which are also connected through gestures and gazes.

25
Q

REMEMBER DETAILS OF THIS ONE:

The Last Supper:

A

Created by: LEONARDO DA VINCI

Milan, Italy (1495-1498)

Created using Oil and Tempera on Plaster.

*Da Vinci breaks with traditional iconography by placing Judas on the same side of the table as the other apostles.

*Numerous preparatory sketches show that each figure was treated individually both in pose and emotion expressed.

26
Q

Mona Lisa:

A

Created by: LEONARDO DA VINCI

Louvre, Paris (1503-1505)

Created using Oil on Wood.

*Sfumato is used in this

(Sfumato: the hazy, blurring of edges effect Leonardo was famous for.)

27
Q

Sfumato:

A

The hazy, blurring of edges effect Leonardo was famous for.

28
Q

Madonna in the Meadow:
(THIS IS THE WOMAN IN THE FIELD, LOOKING AT THE 2 BABIES BELOW HER)

A

Created by: Raphael

(1505-1506)

Created using Oil on Wood

*Raphael adopts Leonardo’s pyramidal composition but rejects his interest in heavy chiaroscuro.

29
Q

STANZA DELLA SEGNATURA:

A

*In this room Raphael presented images symbolizing the FOUR BRANCHES OF HUMAN KNOWLEDGE and wisdom under the headings THEOLOGY, LAW (JUSTICE), POETRY, AND PHILOSOPHY —the learning required of a Renaissance pope.

*Raphael integrated the philosophies and teachings of Plato and Aristotle but also Classical Humanism and Christianity. (The fresco of Theology faced the fresco of Philosophy)

*Architecture of massive vault influenced by architectural remnants of ancient Rome.

30
Q

REMEMBER DETAILS OF THIS ONE:

Philosophy (School of Athens):

(THIS IS THE WHITE TEMPLE WITH THE MULTIPLE PEOPLE TALKING TO EACH OTHER)

A

Created by: Raphael

Rome, Italy (1509-1511)

Created using the Fresco technique.

*Raphael integrated the philosophies and teachings of Plato and Aristotle but also Classical Humanism and Christianity. (The fresco of Theology faced the fresco of Philosophy)

*Architecture of massive vault influenced by architectural remnants of ancient Rome.

*PLATO holds his book Timaeus – a myth of the creation of the world and POINTS UP TO the HEAVENS, the source of his philosophical inspiration.

*ARISTOTLE carries his book Nichomachean Ethics and GESTURES TOWARD THE EARTH, from which his OBSERVATIONS OF REALITY sprang….Concerned with practical matters of the here and now

31
Q

Pope Leo X with Cardinals Giulio de’ Medici and Luigi de’ Rossi:
(THIS IS THE PAINTING WITH THE MAN SITTING WEARING A RED ROBE ON TOP OF WHITE CLOTHES, WITH THE RED HAT, WITH 2 MEN IN RED ROBES ALONG SIDE OH HIM)

A

Created by: Raphael

A window and a self portrait of Raphael ARE REFLECTED in the brass finial of the Pope’s chair.

Shows influence of Flemish painting and works of Jan van Eyck.

32
Q

Pietà:
(THIS IS THE WHITE MARBLE STATUE WITH THE MAN LYING DOWN ON THE WOMAN’S LAP)

A

Created by: MICHELANGELO BUONARROTI

Vatican City, Rome (1498-1500)

Controversy over this statue?
*Mary’s youthful appearance caused some controversy- she looks younger than her son.

33
Q

The famous Statue of David:

A

Created by: MICHELANGELO

Florence, Italy (1501-1504)

Created using Marble

*1st person to present David in the moment before encounter with Goliath rather than moment after.

*Michelangelo abandoned the self contained compositions of the 15th century David statues by abruptly turning the hero’s head toward his unseen gigantic adversary.

34
Q

The Sistine Chapel’s themes:

A

*The creation.

*The fall.

*The salvation of mankind.

35
Q

CRISTOFORO FOPPA CARADOSSO:
(THIS IS THE ANCIENT COIN WITH THE DOME BUILDING)

A

(1506)

Created using Bronze

*The dome for the new St. Peter’s
basilica would be modelled off the
PANTHEON

36
Q

Feast of the Gods:
(THIS IS THE PAINTING WITH THE GROUP OF PEOPLE EITHER SITTING ON THE GRASSY GROUND, OR WITH POTS ON TOP OF THEIR HEAD)

A

Created by: GIOVANNI BELLINI

Ferrara, Italy (1514)

Created using Oil on Canvas

*Draws on poetic “Arcadian” landscapes
of Giorgione.

*Arcadia was a region in Southern Greece.

*The term “Arcadian” referred to an
idyllic place of rustic peace and
simplicity

37
Q

Venetians:

A

Painted the POETRY OF THE SENSES and DELIGHTED IN NATURE’S BEAUTY.

  • FOCUS ON COLOR
38
Q

Florentine and Roman artists:

A

Gravitated toward more INTELLECTUAL THEMES- Virtues, ideals religious concepts, etc.

*FOCUS ON DESIGN

39
Q

Mannerism:

A

The conscious display of ARTIFICE in Mannerism often reveals itself in:

*Unbalanced compositions

*Ambiguous spaces and subjects

*Unusual complexities, both visual and conceptual

*Departures from expected conventions

*Unusual presentations of traditional themes

*Elongated or distorted forms

40
Q

The conscious display of ARTIFICE in Mannerism often reveals itself in:

A

*Unbalanced compositions

*Ambiguous spaces and subjects

*Unusual complexities, both visual and conceptual

*Departures from expected conventions

*Unusual presentations of traditional themes

*Elongated or distorted forms

41
Q

MANNERIST ELEMENTS in “Madonna with the Long Neck”:

A

*Elongated forms.

*Proportions are skewed.

*Ambiguous space.

42
Q

Madonna with the Long Neck:
(THIS IS THE PAINTING WITH THE WOMAN SITTING WITH A BABY IN HER LAP, WITH A GROUP OF PEOPLE ON THE LEFT)

A

Created by: PARMIGIANINO

Parma, Italy (1534-1540)

Created using Oil on Wood

MANNERIST ELEMENTS:
*Elongated forms-→ long slender neck, limbs

*Proportions are skewed: Sinuous, twisting body and oddly
small head

*Ambiguous space: Distance from the foreground is ambiguous.

Parmigianino takes us to an otherworldly realm in which the LAWS OF PROPORTION, NATURALISM, AND MATHEMATICS DO NOT APPLY.

43
Q

REMEMBER DETAILS OF THIS ONE

Last supper (No the famous iconic one, the other one):
(THIS IS THE DARK PAINTING WITH JESUS’ HEAD BEING THE ONLY SURROUNDING BRIGHT LIGHT IN THE DARK ROOM)

A

Created by: TINTORETTO

Venice (1594)

Created using Oil on Canvas

*The ability of this DRAMATIC SCENE TO ENGAGE VIEWERS was fully in keeping with Counter-Reformation ideals and the Catholic Church’s belief in the instructive nature of religious art.

*Reflects the direction Late Renaissance painting took in the 16th century, as it moved AWAY from High Renaissance architectonic clarity of space and neutral lighting TOWARD the dynamic perspectives and dramatic chiaroscuro of the coming Baroque.

44
Q

Villa Rotonda (looking southwest):
(THIS IS THE WHITE BUILDING WITH THE RED ROOFTOPS, WITH THE 6 WHITE COLLUMNS AT THE FRONT ENTRANCE)

A

Created by: ANDREA PALLADIO

Near Vicenza, Italy (1550-1570)

*In the CENTER is a GREAT DOME COVERED ROTUNDA MODELED ON THE PANTHEON.

*Palladio studied CLASSICAL ARCHITECTURE and used numerical ratios to achieve an architectural balance.

45
Q

West facade of Il Gesù:

(THIS IS THE WHITE CHURCH WITH THE DETAILED TILES)

A

Created by: GIACOMO DELLA PORTA

Rome, Italy (Begun 1568)

*The Mother church for Jesuits
in Rome.

*The most influential building
in the later Cinquecento Italy.

46
Q

Compare and Contrast both Leonardo’s Last Supper Painting, and Tintoretto’s Last Supper Painting:

A

Compare:
*Both were created during a time of religious and artistic exploration.

*Both artists aimed to capture the spiritual significance of the Biblical event.

*In both paintings, Jesus is positioned at the center of the table, emphasizing his significance, with the apostles reacting to Jesus’ words.

Contrast:
*Tintoretto’s Last Supper is messy, crowded, and alive with dynamic movement.

*Leonardo’s Composition is balanced, symmetrical, and the picture plane is geometrically organized, with Jesus as the tranquil center.

Renaissance and Baroque (4 decks)

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