Test 2 Flashcards
Nicola Pisano; “Nativity”; Pisa Baptistry; 1260; Italian Medieval. (13th Century Italy)
Cimabue; “Madonna Enthroned”; c. 1280-1290; Tempera on wood. (13th Century Italy)
Giotto; “Madonna Enthroned”; c. 1310; Tempera on wood; (Florence) Italy. (14th Century Italy)
Giotto; “Nativity”; c. 1305; Fresco; Arena Chapel (Padua) Italy. (14th Century Italy). Depth signifies shift towards renaissance style.
Giotto; “Last Judgment”; c. 1305; Fresco; Arena Chapel (Padua) Italy. (14th Century Italy)
Giotto; “Last Judgment” detail; c 1305; Fresco; Arena Chapel (Padua) Italy. (14th Century Italy)
Enrico Scrovegni lifts a model of the Arena Chapel and presents it to the Virgin and 2 other figures
Duccio; “Kiss of Judas”; 1308-1311; Tempera on Panel; (Siena) Italy. (14th Century Italy). Byzantine era.
Giotto; “Kiss of Judas”; c. 1306; Fresco; Arena Chapel (Padua) Italy. (14th Century Italy)
Limburg Brothers; “January”; 1413-1416; (Chantilly) France; International Gothic Style; illuminated manuscript.
Masaccio; “Holy Trinity”; c. 1425; Fresco; Santa Maria Novella (Florence) Italy; nicknamed “sloppy tom”
Andrea Mantegna; “Dead Christ”; c. 1500; Tempera on canvas; (Milan) Italy; early renaissance
Masaccio; Left side of the Brancacci Chapel, Santa Maria del Carmine, Florence (after restoration, 1989). upper left pilaster= “Expulsion from Eden” (c. 1425); below is “Saint Peter in Prison”; large scene to the right of Expulsion is from the New Testament Gospel of Matthew (17:24-27); Below, Peter raises a boy from the dead in the center of the fresco and is enthroned at the right; The two scenes (far right) show Saint Peter Preaching (above) and Saint Peter Curing by the Fall of His Shadow (below); Florence; Fresco
Donatello; “David”; c. 1430-1440; Bronze; Florence; The David is the first nearly life-size, naturalistic nude sculpture that we know of since antiquity.
Andrea Del Castagno; “The Youthful David”; c. 1450; tempera on on leather mounted on wood;
Andrea del Verrocchio; “David”; Early 1470s; Bronze; (florence) Italy
Paolo Uccello; “Sir John Hawkwood”; Florence Cathedral; 1436; Fresco transferred to canvas.
Piero della Francesca; “Battista Sforza and Federico da Montefeltro”; after 1475; Oil and tempera on panel. They are connected to their landscape (shown through the pearls)
Piero della Francesca; “Annunciation”; c. 1450. Fresco; Arezzo, Italy.
Fra Angelico; “Annunciation”; c. 1440; Fresco; Florence, Italy. Gothic.
Andrea Mantegna; ceiling tondo of the “Camera Picta” (“Camera degli Sposi”); Ducal Palace, Mantua; 1474; Fresco
Sandro Botticelli; “Birth of Venus”; c. 1482; Tempera on canvas, Florence, Italy
Elongated, elegant, even languid - as if just waking up. Her flowing hair, echoing the elegant drapery curves and translucent waves, conveys a linear characteristic of Botticelli’s style.
Robert Campin; “Mérode Altarpiece”; c. 1425-30; Tempera and oil on wood
Jan van Eyck; “Arnolfini Portrait”; 1434; Oil on wood; London, England
Leonardo da Vinci; “Embryo in the Womb”; c. 1510; Pen and brown ink; Royal Collection, Windsor Castle, Royal Library, England
Correctly drew the position of the fetus in the uterus and the shape of the uterus.
Leonardo da Vinci; “Last Supper”; refectory of Santa Maria delle Grazie, Milan; c. 1495-98; Fresco
Geometry and perspective are significant: sets of 3 and 4. Judas seen as bad guy, head is lower than the others and is the only one with a shadow. Arch behind Jesus is a halo and being in the center of the window sheds light on him.
Leonardo da Vinci; “Mona Lisa”; c. 1503-5; Oil on wood; Musée du Louvre, Paris, France
Eyes seem to watch you everywhere. Stolen in 1911 and created a hug scandal which brought it fame. On the face: Chiaroscuro- light and dark shading defines form and volume. In the background: Sfumato- “toned down” or “vanished in smoke”
Michelangelo; “David”; 1501-4; Marble; Florence, Italy
Standing in contrapposto, links to Greek and Roman artwork. Very exaggerated in body proportions
Michelangelo; ceiling of the Sistine Chapel; Vatican, Rome; 1508-12; Fresco
Series of paintings recounting the Old Testament
Michelangelo; “Creation of Adam”; c. 1510
God extending out to Adam. God is framed by a sweeping dark-red cloak containing a crowd of nude figures including a woman (identified by some scholars as Eve). Adam reclines languidly on the newly created Earth, for he has not yet received the spark of life from God’s touch
Raphael; “School of Athens”; 1509-11; Stanza della Segnatura; Vatican, Rome; Fresco
His Style: Clear and precise areas of large clean colors and intensely beautiful. Represents philosophy. Image of Plato (left) and Aristotle (right) in center. Put the faces of Renaissance artists on Greek philosophers
Titian; “Venus of Urbino”; c. 1538; Oil on canvas; Galleria degli Uffizi, Florence, Italy
Roses and myrtle are a symbol of the goddess
Jacopo da Pontormo; “Entombment”; 1525-28. Oil on panel; Capponi Chapel, Santa Felicità, Florence, Italy
Parmigianino, “Madonna and Child with Angels (Madonna of the Long Neck)”; c. 1535; Oil on panel; Galleria degli Uffizi, Florence, Italy
Agnolo Bronzino, allegory called “Venus, Cupid, Folly, and Time”; c. 1545; Oil on wood; National Gallery, London, England. Style: mannerism.
Dove and golden apple mean Venus is central woman. Son cupid touching her. Old man time pulling back a blue curtain
Giambologna; ‘Mercury”; c. 1576; Bronze; Florence, Italy.
Balanced on the air
El Greco; “Burial of the Count of Orgaz”; 1586-88; Oil on canvas; Church of Santo Tomé, Toledo, Spain
Andrea Palladio; Villa Rotonda; Vicenza; 1566-70
Purely recreational building, used exclusively for entertaining, it did not have the functional additions found in Palladio’s other villas
Hieronymus Bosch, “The Garden of Earthly Delights”, triptych, c. 1510-15. Left panel: “Garden of Eden”; center panel: “World before the Flood”; right panel: “Hell”. Oil on wood; Madrid, Spain. SUPER COMPLEX AND CONTROVERSIAL.
Commissioned in a private home of a wealthy patient, not a church. Lower Left side, representation of book of Genesis. Right hand panel, is Bosch’s vision of hell, central figure is the tree man torso looks like broken egg shell, scholars believe face is self portrait of Bosch. Central panel, vision of life on Earth
Caterina van Hemessen; “Self-Portrait”; 1548; Oil on panel; Switzerland
Pieter Bruegel the Elder; “Landscape with the Fall of Icarus”; c. 1554-55; Oil on panel; Brussels, Belgium
Bottom right, Icarus drowning after his wings melted from getting too close to the sun
Pieter Bruegel the Elder; “Netherlandish Proverbs”; 1559; Panel; Berlin, Germany.
Colors used as symbols. Each instance of red = sin. Blue = deceit or foolishness. Contains several stories and is moralistic
Albrecht Dürer; “Self-Portrait”; 1498; Oil on panel; Museo del Prado, Madrid, Spain
Wearing fancy clothing showing his high ranking
Albrecht Dürer; “Melencolia I”; 1514
Engraving print. Depiction of the typically personality of an artist. Melancholic at the time- introverted, perfectionist, very sensitive
Albrecht Dürer; “Erasmus”; 1526
Engraved a portrait of Erasmus writing in his study, surrounded by the books that denote his substantial intellect and scholarship
Matthias Grünewald; “Crucifixion with Saint Sebastian”; c. 1510-15; Oil on panel; Colmar, France.
Crucifixion (center), Saint Sebastian (left), Saint Anthony (right), and Lamentation (below). Shows somber scenes
Matthias Grünewald; “Annunciation, Virgin and Child with Angels and Resurrection”
Lucas Cranach the Elder,” Crucifixion”; 1503; Panel; Munich, Germany
Thieves on the left and Christ on the right who looks a lot stronger and more vibrant
Hans Holbein the Younger; “Henry VIII”; c. 1540. Oil on panel; Rome, Italy
Significant pose: body takes up entire frame to convey strength and power. Showing off jewels and fabric of embroidering
