Test 3 Flashcards by Morgan Testa

Lamentation

Giotto
c. 1305-1306
Italian Late Gothic/Early enaissance
Fresco
Large ample body figures
drapery: shadows and sharpness-roundess to forms
backrounds simplified gives emphasis to the forms
gestures and expressions promote empathy
grieving figures gathering around Virgin Mary w/ dead son
2 figures in foreground with backs to use-adds dimension & convinces us that this is a scene that is happening before you (1st time we have seen this)
angels weeping-gestures of grief

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Last Judgment

Giotto
c. 1305-1306
Itlian Late Gothic/Early Renaissance
fresco
takes up entire entrance of wall of chapel
huerarchy of scale-Christ in center
seated on feathery throne, surrounded by light
human form-illusion of projection: knees coming out towards us (fore shortening)
actions of what is going on around him shown by hands (palm up, palm down)
Right: orderly, lifted to heaven
Left: sinners cast to hell
people fell like part of painting and not just a witness

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Ghent Altarpiece

Jan & Hubert van Eyck
completed 1432
Netherlandish Early Renaissance
oil on panel
oil painting: light, shadow, deep colors-more believeable painting
Scene of the annunciation of Mary
Two patrons of the work paying their patron saints respect
diptych: two panels
triptych: three panels
Top: God, Jesus, Mary, John the Baptis (deisis)t-surrounded by angels (rep. of Adam and Eve)
interior: people making sacrificial scenes and pilgrimages

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Arnolfini Double Portrait

Jan van Eyck
1434
Netherlandish Early Renaissance
oil on panel
Wealth: large bed covered in velvet, fancy clothes, chandelier (fore shortening)
Mirror: allows viewer to see everything possible (Mirror and Chandelier have filigree), can see people witnessing the scene
Assumption the women in pregnant: hand on stomach, women expected to be prego after married, dress is made for changing body type——however: very rare to see women portrayed prego (innappropriate)
not in a religious setting, but in their own home
holding hands, his other hand is up: giving a blessing/taking an oath (marriage)
“Jan Van Eyck was here 1434”-signed painting above mirror: shows he was there & exactly what he saw, believe it is happening b/c so realistic

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Abraham’s Sacrifice of Isaac

Filippo Brunelleschi
1401-2
Early Italian Renaissance
bronze relief with gilding
Quatrefoil shape
spreads out elements in scene
isaac is focal point-center
servents on bottom protrude out
Geometric shaping: Triangle-baseline=servants and donkeys; triangular pinnacle=isaac and abraham
Abraham is looking at angel, angel is grabing angel
Climax: angel stopped Abraham
Isaacs Body: twisted, shows emotion (smaller body-young boy=powerful sacrificial effect)

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Abraham’s Sacrifice of Isaac

Lorenzo Ghiberti
1401-2
Early Italian Renaissance
bronze relief with gilding
Quatrefoil shape
more crowded
Geometric shaping: servants and podium= baseline, abraham=triangle pinnacle
Mountain=shows sense of depth
More focused on Abraham: looking down on Isaac (intesnse and severe)
Teaches lesson: Abraham’s faith and dedication, his covenant w/ God
Has not reached climax yet: foreshortening (angel hasn’t stopped act yet) mid thrust
Isaacs body: frontal, natural, looking up to God for salvation
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Dome of Florence Cathedral (“Il Duomo”)

Brunelleschi
1420-36
Early Italian Renaissance
stone architecture
builds dome on cathedral many yrs later
strong ribbed support, bricks
elegant outside, structural and elegant interior
inventveness allows him to overcome engineering problems-builds scaffolding
arching pointed shape

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Holy Trinity

Masaccio
c. 1425-28
Early Italian Renaissance
fresco
First to use Brunelleschi one point linear technique-portray illusion of 2D and 3D
Trinity flanked by Virgin Mary, John the Evangelist, 2 donros sitting outside
Vantage point: sides of road converge to vantage point-shows that lines are orthogonow

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David (or Mercury)

Donatello
between c. 1430-1469
Early Italian Renaissance
bronze sculpture
First lifesize bronze nude made since antiquity
contrapposto stance
Foot on head of giant, feather from head of a giant goes up and tickles leg
Odd b/c supposed to be biblical story but the adolecent is naked–maybe supposed to be Mercury
Sword, holds rock in left hand

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Birth of Venus

Botticelli
c. 1484-86
Early Italian Renaissance
tempera on canvas
poetry in motion
beautiful and curvaceous lines-lightness to form, sway in breeze, lean
Depth in distance
Venus comes ashore in shell
classical antiquity taking over
too risque for church-found in bedroom where sexuality/playfulness is accepted
Christian morality/pagan subjects blended
figure on right-personification of time

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Last Supper

Leonardo da Vinci
c. 1495-98
Italian High Renaissance
oil and tempera on plaster (not true fresco)
Leonardo brings the form to a new way we’ve never seen before
praised for prospective: vantage point is Christ’s forehead
praised for mathematics and its narrative: portrays particular moment in last supper where Christ tells apostles that one will betray me
institution of eucharist
painting now ruined b/c of experimental technique-oil on fresco
3D space on 2D surface

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Mona Lisa

Leonardo da Vinci
c. 1503-6
Italian High Renaissance
oil on panel
3/4 length portrait
innovative style: softness and darkness, light out of shadows, soft countours, soft edges (sfumato-smokiness)
Landscape: women and nature together
famous smile
plain and natural-no jewelry, hair is down

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David

Michelangelo
1501-4
Italian High Renaissance
marble sculpture
lifesize
walking contrapposto
fearful of going to battle, looks off to side
supposed to be on top of cathedral
manipulates body: large hands, defined muscles

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Creation of Adam

Michelangelo
Sistine Chapel Ceiling
Vatican
1508-12
Italian High Renaissance
fresco
light w/ magical electrical touch
twisting forms shows 3D
ideal body of Adam-muscular
Barely able to reach up to God-haven’t touched yet

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School of Athens, Stanza della Segnatura

Raphael
Vatican
1510-11
Italian High Renaissance
fresco
Made for Pope’s private library
idealized reconstruction of a multitude of greek philosophy that make up the school: groups of different philosophers clustered together
Aristotle and Plato in middle: Aristotle in blue pointing out, Plato in red pointing up (pointing=shows philosophical views)
portrait of Michalangelo in bottom leaning against a block of stone-honors him and tells him to stick with sculpting

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Last Judgment

Michelangelo
Sistine Chapel
Vatican
1534-40
Italian High Renaissance
fresco
Christ in the center: surrounded by light and those saved (right: those who will go to heaven, left: those who will go to hell)
Christ: anatomy is powerful, almost nude, beardless, Gestures (angry, points to wound to emphasize his suffering), looking at St. Peter (salvation comes through st. peter)
Virgin Mary is touching Christ-physically part of him, foundation of church
st. Bartholomew at food of Christ-believed to be self portrait of Michelangelo=shows how he has given himself to Church
Location: in Pope’s private chapel
Narrative is driven by the construction of human form

Venus of Urbino

Titian
c. 1538
Italian High Renaissance
oil on canvas
Colore-does not emphasize contour lines
direct representation of physical reality
female natural beauty
Private picture
Controversy of nudity is muted b/c she hides herself
she looks at us and engages the viewer with the smile-sexualized painting
figure in the back scrambling to get her clothes

Villa Rotonda

Palladio
Vicenza, Italy
1566-70
Late Renaissance/Reformation
architecture
style like high renaissance: symmetry, order, rational, mathematical
natural environment, but is separated by the mathematical order
reminds us of pantheon-structure like dome
temple on every side-facing 4 cardinal directions
square pediment with steps on each side

Feast in the House of Levi

Veronese
1573
Italian Late Renaissance/Reformation
oil on canvas
corinthian columns, arches
filled with many figures scattered about
christ is in the center (portrayal of the last supper)-literally having a mean which makes it lose the theological significance
soldiers dressed as german mercenaries-mocking Holy church

Pendant Mask

c. 1500-1550
African (Court of Benin)
ivory, iron and copper sculpture
italic inlays
face of a queen mother or “Oba” of the culture
Queen mother is natural
hair has a design motif that continues into the necklace, alteration of head of a person and then a fish

Self-Portrait

Albrecht Durer
1500
German High Renaissance
oil on panel
full frontal-see hand and long beard
reminds you of an icon of Christ-looking at you and giving a blessing
looks realistic
he is a print maker-work is important for intellect and craftsmanship
print is private b/c look at it youtself, but also public so that everyone would look at it togehter

Adam and Eve

Durer
1504
German High Renaissance
engraving
perfection of form like Greek
Figure of Adam-Apollo Belvedere or Youth Magdalensburg
Eve-Aphrodit of Knidos
Female forms are representations nature
forest=paradise
eve partakes in forbidden fruit=illness in world
Durer signs his name on plaque
Circuit, like crown of peacock, stands for seven deadily sins

Isenheim Altarpiece

Matthias Grunewald
c. 1510-15
German High Renaissance
oil on panel
outer part- crucifixion scene
Christ is in center-afflicted and swollen b/c has disease “St. Anthony’s Fire” which is fatal
Virgin Mary at side wailing and fainting
intensity of grief on outside
inside-one side Mary hold Christ as child w/ light, chorus and angels, devil that is green is looking at side and trying to prevent birth of Christ, other side is Christ’s ressurection
open it up again-sculpture of St. Anthony

Garden of Earthly Delights

Hieronymus Bosch
c. 1510-15
Netherlandish High Renaissance
oil on panel
clothes shows the world creates a buzz and excitement
surface area represented as flat
opened uo: landscape of life, activity, color
strange b/c many things going on=cannot fit into standard conception what the alter piece is about
far right: apocayplse
evolution, species coming out of water and changing form
figures dancing and playing in nude=let go of all civilized inhibitions

St. Peter’s Basilica

Bramante, Michelangelo, Maderno, Bernini, et al
Vatican
1506-1667
Italian High Renaissance to Baroque
architecture
4 major architects created over time-grew and changed
first planned to be a centrally planned church: church dedicated to a martyr-structure related to death
St. Peter buried in acropolis
Michelangelo planned to support the dome with bigger walls
idea change to a basillica-more people can fit in it
front facade
plaster gives a visual element of rib structure to give form and support
small windows
Obelisque-from ancient eqyptions, tall stone piece that has ashes of Constantine in it (Pagan and Christian)–found in vascillica
baldacchini is most sacred spot- has spiraling columns made of bronze that reach toward the dome

Ecstasy of St. Teresa

Bernini
1645-52
Italian Baroque
marble sculpture
over the alter there is St. Teresa-she is a saint with experience at private revelation,
contact w/ divine is the ecstasy
swept up on cloud, foot dangles down (giving herself over to God)

Calling of St. Matthew

Caravaggio
1600-1602
Italian Baroque
oil on canvas
chiaroscuro-contrast of light and dark in a shadow
harsher, more dynamic type of light
exterior scene
light is artificial
people sitting around table counting money-St. Matthew=tax collecter
light is a space between where Christ is and where the one he calls is

Susanna and the Elders

Artemisia Gentileschi
1610
Italian Baroque
oil on canvas
woman artist-uses gender to show her perspective
an old testament hebrew bible topic-woman that was chaste and noble was assulted sexually by 2 men, but she denied them
they make a rumor that she was seen with a man in a garden, but she goes to court and proves they are wrong
stripped down environment and made it uncomfortable to look at situation
way she paints contrasts how men paint it: sees susanna as a victim, not a sex object

Woman with a Balance

Johannes Vermeer
c. 1664
Dutch Baroque
oil on canvas
scenes of everyday life in the household, “genre” painting
woman in the corner of room, holding a balance at a table w/ jewels and coins on it
relatively well appointed room-cloak, painting, upperclass environment
no pretext for painting-just of common life
back: last painting w/in painting of Last Judgement
elegant and coming of age, balance at center of picture
balancing concerns of earthly goods (ordinary by fleeding) with her sould that is eternal
venitas-idea that things of this world are vain and concern of them is vanity

Self-Portrait

Rembrant
1658
Dutch Baroque
oil on canvas
Rembrandt pushes the boundary of what the medium can do-practices manipulating the material
full of emotion and psychological complexity
paint is used in layers and textures from smmoth to rough to construch form
did not use many colors
thickness in the paint, uses texture to demonstrate own touch w/in his own face=individualized
constantly manipulating the surface to get variety of textures
presents himself like a kind wearing golden robe and holdig a painters toold-making him the prince of painters despite him being bankrupt

Militia Company of Frans Banning Cocq (“The Night Watch”)

Rembrandt
1645
Dutch Baroque
oil on canvas
turns it into a scene that is active and engaging
musketeer group handling guns
guy firing the musket in front of head of lieutenant
2 young girls dressed in glowing gold, one carrying a chicken-referring to mascot of company=glaw of chicken

Christ’s Ministry (“The Hundred Guilder Print”)

Rembrandt
1648
Dutch Baroque
etching and dry point print
illistrated multiple scenes from one chapter of the bible (Matthew 19)
Christ debating with pharisses
Christ healing people
Christ pushes aside the apostles and blesses the kids, telling people to make a path for the lady to bring her child because children are innocent
man asking how to go to heaven-Christ says follow commandments and live life of poverty
Christ’s gesture-orating, speaking to crowd, debating with pharisees

Henry IV Receiving the Portrait of Marie de’ Medici

Peter Paul Rubens
1621-25
Flemish Baroque
oil on canvas
Henry fourth being presented with portrait of Marie de Medici
Commissioned by Marie de medici who wants them to celebrate her, promote her
He depicted concepts of antiquity, personification and allegory
In background there is a valley, but henry has left the battle, he is still wearing the armor, right now he is concerned that he is presented by portrait of “loveliness” and he is swept off his feet
After henry has died, Marie is saying that she is important to France, she has to promote herself as something good for the country
She is resented by cupid and the God of marriage
Floating in the sky is Jupiter and Juno= king and queen of God
graceful

Las Meninas (The Maids of Honor)

Diego Velazquez
1656
Spanish Baroque
oil on canvas
In a grand gallery that no longer exists, with paintings of Reubens and his schools, see royal family in their finery hanging out
Velazquez portrays himself at work with the royal family in a casual setting – he gets personal time with the royal family – their palace, but his room
Guy in the door way and reflection in the mirror- 2 figures the king and the queen who are standing in front of the artist
Like Jan Ven Ike- mirror
Paints in a broad and quick manor
Red cross on his breasts says he is a knight of Santiago, but he was actually not approved for several years later, so he painted it on later
Quest for a knight hood
Audience for painting is the king and the queen

Self-Portrait

Nicolas Poussin
1650
French Baroque
oil on canvas
Wants poussin to make paintings in the lou, but heh didn’t like that, he wanted to be independent from patrons and do what he wants, he resisted working for someone
Flees from french king
Scholars robe

Palace of Versailles

Louis Le Vau and Jules Hardouin-Mansart
1668-1685
French baroque
architecture
Outside of paris in the middle of no where
Gardens extended more than a mile outside the palace
Dominion over the land and over nature itself
Implement a planned organized space
Today is huge complex with gardens and woods that go back
More than a palace- it was an administrative center for the region
Had to have it big enough for his guests
Close to the palace the structure is very organized and reverts back
Newer part is demanding and repetition
Hall of mirrors- basins of water, light would come in at dawn and hit off mirrors and glitter off of gold – ritual of king rising with the sun
Festive city
Paintings decorative

The Meeting

Jean-Honore Fragonard
1771-1773
French Rococo
oil on canvas
Painting for rococo, progress of love by Fragonard- series made for mistress
Young man climbing up on a balcony on a latter, just at last moment she hears someone and turns the other way
Luxious organic pleasure of nature
Statue of cupid and venus to show love, beauty and sexuality
Rising of trees up to the sky – softness in atmosphere
Delicacy and charm and scandalous nature
Innoncene and love
Throwing off of yoke of louis the 14th

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Test 3 Flashcards

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