Test 2 Flashcards
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22-13 Michelangelo, David, for Florence
- early 1500s
- carved in marble, came from a very good block of marble. even though it was tall it was very thin.
- the block wasn’t originally meant for michelangelo to carve
- 17 feet tall
- this is the moment when david is waiting for goliath
- has a slight contrapposto pose but still a good deal of tension in all his body
- he has a very good understanding of what’s under the skin, the bones structure and layout of muscles
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22-14 Michelangelo, Moses
- early 1500s
- 7 and a half feet tall
- done for the tomb of pope julius the second
- the tomb was never built so there are only fragments of the tomb built
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22-15 Michelangelo, Bound Slave
- early 1500s
- this also meant for the tomb of pope julius the second
- this sculpture suggest he is trapped internally as he is a very strong person bound by light rope
- slightly in a contrapposto
- you get sharp zigzagging lines through the form
- he looked at things from the hellenistic period
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22-16 Michelangelo, Ceiling of Sistine Chapel.
- early 1500s
- took him 4 years to complete
- he regarded himself as a sculptor and did not want to paint the chapel
- the book of genesis the creation of earth and man and women. 9 episodes represented in the continuous narrative
- he painted fake architecture in
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22-18 Michelangelo, Creation of adam
- early 1500s
- fresco
- he wants to slow down the reading of the painting so you see the significance of the scene
- whats us to contemplate the moment when human life begins
- this is the most famous painting on the sistine chapel
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22-28 Palladio, villa Rotonda, Vicenza
- mid 1500s
- he chose his building sites with vistas or grand views of the countryside
- he also took into account what the people would think when seeing the house while approaching
- He has a perfect square with perfect symmetry
- inspiration came from the roman Pantheon
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22-34 Giorgione, The Tempest
- early 1500s
- this piece is an enigma the subject matter is completely unknown
- the women is aware of our gaze
- he is a very painterly painter
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22-35 Titian, Pastoral Symphony
- early 1500
- a subject that has nothing to do with bible or mythology more like an invented poetic painting
- the women are meant to be symbolic of ones muse for inspiration.
- the men seem to be deep in thought and love of the arts
- Painted in a painterly way of painting
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22-38 Titian, Meeting of Bacchus and Ariadne
- early 1500
- commissioned for a princely court
- he enjoyed using loose composition with the less pyramid or symmetrical patterns. odd groupings of people giving it freedom and adds to the spontaneity of the subject matter itself
- works with many new colors and color contrasts
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22-39 Titian, Venus of Urbino
- mid 1500s
- most famous but not most representative
- commissioned by a wealthy patron
- not much is known about this painting
- the subject isn’t known and there is much speculation of who she is
- this is an exceptionally well done painting of the female nude
- the body is so softly rendered its difficult to find a hard line on her body
- this is an odd exception because this is composed unlike his other looser compositions
- he has 3 separate elements of space, foreground, middleground, and background held together with nice lines
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22-42 Pontormo, Entombment of Chris
- early 1500s
- this is meant more as a photo of contemplation not representation
- he includes himself in the back as a self portrait
- this painting is about emotion and he uses the void in the middle to suggest an emotional void
- the faces can be seem to be deeply grieving
- our eye is pushed around the painting in a circle forcing us to notice the empty center
- the sense of stability in the painting is gone feeding the chaos of the scene and subject matter
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22-45 Bronzino, venus, cupid, Folly and Time
- mid 1500s
- commissioned as a gift for the francis the 1st king of france who helped bring the renaissance to france
- the painting depicts venus the goddess of love
- masks in the painting are a sign of deceit
- there is a strange fragmented body in the background in front of the sheet.
- envy is the angry looking man in the background and envious of venus
- the light is very bright and very cold that is prevalent in many mannerism paintings
- they think a choreographer may have set the scene up
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22-48 Tintoretto, Last Supper
- late 1500s
- 12 x 19 feet
- represents new mannerists ideas
- the table is put on a diagonal unlike any other depiction of the last supper
- a line the table creates is a plunging diagonal, it moves across the painting but also brings you back in space in the painting. This creates a sense of real fast movement
- its odd that the servants and such are larger than the sacred figures but it leads us to believe that the super is a vision of holy grandeur.
- a deeply mystical approach to the subject
- He shows the moment when jesus is handing the bread and wine and goes back to the sacrament and communion
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22-49 Veronese, Christ in the House of Levi
- late 1500s
- oil on canvas
- 18.5 x 42 feet
- this was originally a last supper
- they brought him to court because he painted this in a way the church didn’t like
- he argued he had some artistic license
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23-2 Grunewald, Isenheim Altarpiece (closed)
- early 1500s
- his art is about the expression of emotion and feeling through poses and expressions
- designed to the hospital of a monastery designed for medical care
- the painting was done in a specific context for praying away the sin that causes the disease or console the ones who couldn’t be cured.
- there is a penetrating realism in the way he depicts christ. he used a real body and hung it from a tree
- very limited use of chiaroscuro and very linear painting
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23-2 Grunewald, Isenheim Altarpiece (Open Interior)
- early 1500s
- the lower left hand person in the right hand panel. saint anthony’s fire was the name of the disease they thought he might have. this hospital is where those patients were brought
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23-5 Durer, Fall of man (Adam and Eve)
early 1500s
he embraced the ideas of the renaissance and norther ideas and merged them
had to use different techniques since it was an engraving
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23-2 Bosch, Garden of Earthly Delights
- early 1500s
- little over 7 feet fall so quite large piece
- we dont know who commissioned it or whether it was supposed to be an altar piece or not
- very strange and unconventional painting
- they think this may relate to a lot of folk traditions that has been lost over time when many people moved to the city and embraced pop culture
- The left panel is paradise and the creation of eve and they are seen against a fantasy landscape with many symbols of sex
- in the far right panel it seems to be a view of hell. you can see various torcheres and a devil who is eating people many horrific travesty
- the center panel is the scene of wild abandon with many sexual endevors
- very crowded composition especially the center panel
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23-22 Bruegel, Hunters in the snow
- mid 1500s
- there wasn’t much work coming from the church due to the reformation
- landscape portraiture and still life and become the subject themselves
- he is one of the people who began to define how landscape painting was done
- everything is leading towards the alps
- the use of trees help keep the whole painting together
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23-25 El Greco, Burial of Count Orgaz
- late 1500s
- this was completed for a church as an altar panel
- it represents the burial of a count from the middle ages
- 16 feet tall
- 2 saints of the past arrive to bury the count
- the figures in the back are are donors and patrons of the church
- el greco paints a transparent white vestment over a black coat very expertly
21
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24-2 Maderno, Santa Susanna, Rome
- Eary 1600s
- the baroque period like the grand, so the more exuberant the better
- the facade is a full two story building with columns applied but with no support purpose
- emphasis on the vertical and central axis and focal point. Alot of emphasis on central line
- the wall tends to have a lot of pieces that projects forward and parts that recedes giving a sense of movement
22
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24-3 Maderno, Facade of St. Peter’s
- early 1600s
- kept with the same ideas of baroque are
- some say it was built to high and obscures michelangelo dome
23
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24-4 Piazza by Bernini; Dome by Michelangelo
- mid 1600s
- wanted a space of grand entrance and to fit giant crowds within
- the outside looks like the arms of the church and the openness of approach of the church
- architecture can be sculptured and practical
24
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24-5 Bernini, Baldacchino
- early-mid 1600s
- Gilded bronze
- 100 feet high
- instead of straight columns they spiral up
- the whole thing is gilded with gold leaf
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24-9 borromini, san carlo alle quattro, fontane. (saint charles at the 4 fountains)
- Mid 1600s
- gave multiple facade because of the plot of land it was built on
- alot of statues and decoration
- The inside center space is a strange elliptical shape with alternating concave and convex spaces.
- the columns are spaced at odd intervals
26
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24-6 Bernini, David
Early 1600s
The artist chooses the action in the story (much like the baroque period)
this david needs to be looked at from one angle otherwise it would look strange
body was a hercules type and a fully developed physic and not a child like most
27
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24-8 Bernini, Cornaro Chapel
- mid 1600s
- he was a set designer and stage designer
28
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24-7 Bernini, Ecstasy of Saint Teresa
- mid 1600s
- 11’ 6” tall
- bernini had a very technical understanding of carving and mastery
- the saint lies as if on a cloud
- bernini had a great use of texture
29
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24-18 Caravaggio, Conversion of St. Paul
- early 1600
- done for a chapel within a church in rome
- strong naturalism and realism
- his paintings really showed very realistic to the point of showing the blemishes and dirty on people
- this is the scene where paul becomes faithful
- the scene is a great drama
- the horse is extremely realistically rendered
- dramatic cool light and sharp contrast
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24-19 Gentileschi, Judith Slaying holofernes
- early 1600
- very baroque style showing the moment of action
- much like caravaggio style
31
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24-27 Zubaran, Saint Serapion
- Early 1600
- we are seeing a moment of action even though its silent action
- very rich detail
32
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24-28 Velazquez, Water carrier of Seville
- early 1600
- ages of man theme
- water carrier is the main part of the painting
- this is new he is painting a humble charecter
- genre was about the daily life of peasants and daily folk
33
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24-28B Valazquez, King Philip the 4th of spain
- mid 1600s
- this is more towards his style that water carrier of seville
- very rich and very brilliant color sceme and a very crimson color sceme
- started using black as a color
34
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24-30 Valazquez. Las Meninas (The Maids of Honor)
- mid 1600s
- 10.5x9 feet
- portrait of princess margarete
- portraits of many people including self portrait
- buroaq contents can become muddied with unsure motives
35
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25-2 Rubens, Elevation of the Cross
- early 1600s
- triptych
- rubens shows the cross being put up so the moment of action
36
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25-10 Hals, The Women Regents of the Old men’s home at haarlem
- mid 1600
- this is kind of like we have interrupted on their meeting
37
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25-12 Rembrandt, anatomy Lesson of Dr. Tulp
Mid 1600s
38
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25-13 Rembrandt, The Night Watch
- mid 1600
- tries to give us the sense of everyday light
- this is a day time scene in the entrance to the guild hall
39
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25-14 Rembrandt, return of the prodigal son
- mid 1600s
- this is a religious painting done through a commision for a personal household
- underlying message is you have to ask for forgiveness and you will receive it
- focal point is to the left its the fathers beautiful gesture
40
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25-32A Poussin, Burial of Phocion
- mid 1600s
- Grand manner Dealt with a serious subject and an example of virtue
- art should be intellectual
- great depth and framed on either side by trees and rocks and frame the focal point kind of like bookends and called closed composition
- he uses the scale of the trees to suggest great depth
- the alternating shadow and light also helps pull us back into the painting
- overall neutral color scheme and even and gentle light
41
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26-7 Watteau, Pilgrimage to Cythera
- early 1700s
- fete Galante (amorous festival)
- done as his entry piece for royal academy of painting and sculpture
- entirely invented subject
- fete galante is all about courtship
- this painting is about the moment of falling in love
- very painterly style loose and fluid motion in the painting
- there faces don’t have a lot of individuality or expressions
42
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26-9 Fragonard, the Swing
- mid 1700s
- very dirty with alot of sexual metaphors
- emphasis on the erotic and courtship
43
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26-13 Chardin, saying Grace
- mid 1700s
- more the subject and content than it is the style of the piece
- children had much more freedom for children
- this is an example of what a new mother should be like
44
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26-17 Hogarth, Breakfast Scene
- mid 1700
- this is about what would happen if one was forced to enter into marriage
- treated like a stage set
- pastel colors lake of facial expression but very dramatic body expressions
45
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26-25 David, Oath of the Horatii
- late 1700
- big paintings with big statements
- the idea of the grand manner, and serous subject thats grand and nobel
- painting proposes a kind of dilemma about fowling your own personal sensibility or your belief in your gov’t and republic and morals
- he loves carvagio
- set in a square not the beauty s curve
46
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27-5 Gros, Napoleon at the Pesthouse ar Jaffa
- early 1800s
- napoleon used these paintings as propaganda
- this shows a complete fiction of napoleon looking after his sick troops
- this suggests that napoleon can cure the sick and not catch any disease, gros is putting him in the role of a king in the past saying he has divine powers like the kings of the past
47
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27-7 Ingres, Grande Odalisque
- early 1800s
- 4 vertebrae to many
- the proportions and pose of the woman are very off
48
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27-14 Gericault, Raft of the medusa
- earlly 1800s
- the color was much better but chemically unstable paint led to its fading over time
- baroque diagonals
49
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27-15 Delacroix, Death of Sardanapalus
- early 1800s
- started breaking all the rules of art
- tells the emotions of the piece in very dramatic ways
- the focal point is deep in the shadow and upper left hand corner
- he combines baroque plunging diagonal ideas with the freeze composition in a line across the front plain and put the two together to create a clasing
50
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27-26 Gustave Courbet, The Stone breakers
- mid 1800s
- he liked to paint rural and humble subjects
- these are very humble subjects, the poorest of the peasants
- broken the rules by putting the subjects in the foreground
- also broke the rules by painting it on a larger scale
- very simple type of folk composition
- somewhat ages of life theme
51
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27-33 Manet, Olympia
- mid 1800s
- painting was about the hypocrisy of marriage
- controversial because not the body type of the original sleeping venus
- her hand has a lot of chiaroscuro and way more than anything else in the painting
- parody of the old masters
52
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28-2 Monet, Impression: Sunrise
- late 1800s
- painting in the open air
- they were attacking the notion of the finished picture
- an impression was done rapidly and spontaneously to capture color and not precise forms in space
- colors are very loose and left unblended using a reserved color palette using a split complementary
53
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28-8 Renoir, Le Moulin De La Galette
- late 1800s
- subject is a working class tavern
- asymmetric space
- stacked in a primitive way
- he isnt using atmospheric perspective. using stacking and diminishing scale
- the painting was primed with white
54
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28-10 Degas, The Rehearsal
late 1800s
a genre painting
he wants you to have a feeling you walked by in the hall and just got a glimpse
modern life is always in flux so his painting is too
creates the sense that you’re seeing a moment in time (slice of life)
