Test one Flashcards
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14-5 Berlinghieri, St. Francis Altarpiece
- mid 1200 (1235)
- Tempera on wood panel
- combined with gold leaf
- not a photographic representation of francis but shows some likeness
- Alter panels where a new type of object because priests no longer faced the congregation
- elongated proportions as well as figure is very flat
- stylized and geometric face
- figure placed centrally and in front with bilateral symmetry
2
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14-6 Cimabue, Madonna Enthroned with Angels and Prohets
- Late 1200s
- This is an example of the presentation madona
- tries to show 3D form and depth
- Tries using forshortning but not entirly sucsesfull
- uses overlapping combined with vertical stacking as well as slight diminishing scale to show depth
3
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14-1 Giotto, Arena Chapel, Padu Italy
- early 1300s
- Possibility that giotto also designed the chapel itself
- Painted in fresco
- Tells the entire story of the new testiment
- The blue helps unify the piece as well as costuming of the figures is similar
- it is a continuous narative
4
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14-8 Giotto, Lamantation
- Early 1300s
- most famous fresco on the walls fo the arena chappel
- very human emotions can be seen in the faces
- he creates a sense of space by using a ground line and placing the figures on almost a stage
- The figures dont look like flat shapes, they have mass which is achieved by minipulating color, light and shadow
- Giotto also understands that a painting needs to be unified
5
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14-9 Duccio, Maesta: Virgin and Child Enthroned, Siena Cathedral
- early 1300s
- tempera and gold leaf on wood
- Was part of the Maesta alter piece
- had much formality and symetry
- the faces were were individualized
6
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14-11 Duccio, Betryal of Jesus from the Maesta
- early 1300s
- tempera and gold leaf on wood
- A part of the Maesta alterpiece
- it is a continuous narrative
7
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14-13 Simone Martini, Annunciation
- mid 1300s
- Alterpiece from the siena cathedral
- Martini was a pupil of Duccio
- Figures are very thin and wieghtless
- tempra and gold leaf on wood
8
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20-2 Claus Sluter, Well of moses, Dijon
- late 1300s-early 1400s
- This is only a partial peice as much was destroyed during the french revolution
- It was carved from limestone and originally painted but the paint has worn off over the years
9
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20-1 Robert Campin, Merode Alterpiece
- early 1400’s
- This is what is called a triptych
- One of the first alter pieces from the north
- The left most portrait is a doner portrait
- One of the earliest oild paintings and one of the first northern painters to understand chiaroscuro
10
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20-4 Jan Van Eyck, Ghent Alterpiece (Closed)
- mid 1400s
- Oil on wood
- This is the closed alterpiece
- the two portraits on the bottom outside are doner potraits
- this is a polytych
11
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20-5 Van Eyck, Ghent Alterpiece (Open)
- mid 1400s
- oil on wood
- The bottom of the open polytrych is one large panoramic view spread across several panels. it depicts the sacrifice of the lamb which is an allegory to the death of christ
- the upper left and right most panels are adam and eve. Because of the realistic proportions and details to muscles and such it is believed Van Eyck used real models
12
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20-7 Van Eyck, Man in a Red Turban
- Mid 1400s
- Oil on wood
- This is the first painted western portrait in 1000 years in wich the subject looks directly at the viewer
- It is believed to be a self portrait of van eyck because it almost looks as though he is gazing slightly off and looking into a mirror which is how they would do self portraits. Also the inscribed frame suggests the same
13
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20-6 Van Eyck, Giovanni Arnolfini and His Bride
- mid 1400s
- Oil on wood painting
- This is a double portrait wich was not common, usually a couple would have to portraits painted seperatly and hung side by side
- because of this fact they believe the painter may be documenting somthing, the two theorys are maraige or giving the wife power of attorny
14
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20-8 Rogier Van Der Weyden, Deposition
- mid 1400s
- this is the scene of christ being removed from the cross
- you can see the pose of christ being mirrored in marry showing she feels the same pain as christ during his death
- there is quite a bit of emotion expressed in all the individual faces as well as body language being used to aid in the expression of emotion
- oil on wood
- it is the center piece in a triptych. it also resembles a relief carving
15
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20-9 Rogier Van Der Weyden, Saint Luke Drawing the virgin
- mid 1400s
- in a sense this is a self portrait he drew himself as saint luke
- There is a real sense of atmospheric perspective with some areal perspective
16
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20-11 Dirk Bouts, Last Supper
- mid 1400s
- One of the first ealiest northern europeon paintings to employ liniar perspective
- The included images of the servents are infact portraits of the doners
- the liniar perspective wasnt entirley sucsesfull but for the most part was
- the vanishing point is just above christs head which unfortunatly leads the viewers eyes away from the focal point
17
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21-5 Donatello, saint mark
- Early 1400s
- almost 8 feet tall
- worked in marble
- Donatello fully understood weight shift or contrapposto
- Understands rules in classical sculpture on how you treat the supporting and free leg sides.
- originally modeled form with clay in nude figure than took linen cloth in plaster to see how gravity pulls the cloth towards the earth
- the face is very lifelike to the point where it looks as though he is thinking
18
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21-8 Donatello, Feast of Herod
- early 1400s
- For baptismal font at siena cathedral
- another instance of donatello infusing emotion into his sculpture
- this is a relief sculpture in bronze
- He tries to create an atmospheric perspective in sculpture but higher relief in the foreground and barley in relief and not very defined.
19
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21-12 Donatello, David
- mid 1400s
- about 5 feet tall
- made out of a mold
- then cleaned up and finished and polished
- very beautifully detailed
- this is the largest cast bronze piece in 1000 years as well as the biggest figure in the nude in 1000 years
- believes the medici’s were the patrons
- we know that florence saw themselves as the little david and the golioth were the armies invading. many times won by luck.
- the renaissance artist showed either the moment before the action or the moment before the action but not the action itself
20
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21-19 Masaccio, Tribute Money
- Early 1400s
- located in Branacacci Chapel
- Fresco on a wall
- this subject is very rare in art and in the gospel. A continuous narrative
- the mountains are rendered so well you could recognize them in florence
- it is truly a renaissance painting because he creates a convincing space using linear one point perspective and he uses it to reinforce his focal point. The background also washes out to greys and whites
- he uses a single consistent light source. First italian painting with cast shadows
- The figures seem to be truly placed in space and much variety in facial features and hair and different emotions and different colors.
- figures all standing in contrapposto
21
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21-21 Masaccio, Holy Trinity
- Early 1400s
- painting the concept of the holy trinity not meant to be a narrative scene.
- Fresco that is 22 feet high
- good tight unity using the pyramid as a compositional device.
- bilateral symetry
22
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21-22 Fra Angelico, Annunciation
- Mid 1400s
- in the san marco monestary
- Fresco about 7x10 feet
- commissioned by the medici
- placed it in a contemporary setting
- everything seems very delicate
- linear perspective giving a sense of a real space
23
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21-1 Sandro Botticelli, Primavera
- late 1400s
- tempera on wood
- no gold leaf
- it may have been a marriage gift to lorenzo medici’s wife
- subject is venus the goddess of love and depicted in a more midevil style with those style portions
- enter the painting at the right where the zephyr(wind god)
24
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21-29 Botticelli, Birth of Venus
- late 1400s
- Tempera on canvas which was quite rare to see
- modeled on a classical type statue that medici owned
- first time in 1000 years a female nude has been seen in art
- there is a kind of narrative within the painting
- Bilateral symmetry
- her hair and edges of seashell is crushed gold mixed into paint
- uses simple techniques for space
- one of the best paintings to use rhythm, this starts with the repetition of the water and shell as well as the trees and cloth
25
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21-30A Brunelleschi, Dome For florence Cathedral (duomo)
- early 1400s
- The home for the bishop
- when they built the first cathedral they didn’t know how to build the dome in 1300s so it wasn’t until brunelleschi that the dome was built.
- made the dome more pointed but wanted more rounded dome to be more rome like and added ribs that take the weight.
26
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21-32 Brunelleschi, Santo Spirito,
- mid 1400s
- high windows with purpose of bringing light into building
- He has greatly simplified church creating it more spacious than ever
- this came from the early christian basilica roman legal court
- revived the basilica type
- 21-32 floor plan
- designed his buildings on paper with mathematical precision
- the naive determined the proportions and they were a simple consistent rules of proportions
27
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21-37 Michelozzo, Palazzo Medici (Medici Palace)
- mid 1400s
- Located in florence
- is a brunelleschi type building
- brunelleschi did not get the commission because of how he was going to design it (very ritzy)
- Built around a courtyard so every room had windows on both sides
- stones are put in with deliberate rustic quality to show fortification.
- The second floor is very elegantly done and laid in a geometric pattern (dressed masonry) the most elegant floor had public places within
- The stone on the top floor is plain as it is plain living quarters.
- the outside mirrored the inside as in what the buildings were used for.
- more roman shaped windows as well as the look of the roof
28
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21-46 Alberti, Sant’ Andrea plan
- eliminated side ilsed but added side chapels
- 21-47 is the interior
- one massive space with barrel vaulted ceiling (comes from romans)
- small barrel vaults in side chapels
- very lavish interior
29
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22-2 Leonardo Da Vinci, Madonna of the rocks
- late 1400s
- Oil on wood
- Treated differently than most madonna and child
- Brings a family intimacy to the scene
- Uses the pyramid like with masaccio
- a series of gestures and gaze direction that leads our eyes around the painting and the figures are tightly placed bringing unity
- set outside in a strange settings, a cave area meant to be a reference to christ’s death.
- very good use of chiaroscuro
30
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22-3 Leonardo, cartoon for madonna and child with st. anne and st. john
- early 1500s
- a cartoon was a final drawing for the painting at full size
- lenardo worked on his paintings starting with darker tones and added highlights later on
31
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22-4 Leonardo, Last Supper
- late 1400s
- fresco
- ot of damage has happened because he used oil and it doesn’t work well on walls and this has almost been destroyed several times and re painted
- napoleon sent a cannonball through it and during world war 2 sustained a lot of damage and this painting was one of the only walls that survived
- he painted the most dramatic moment to him which was the moment when jesus tells all that somebody will betray him tonight thats why there is so much movement and drama
- wide range of different looking people and emotions
32
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22-5 Leonardo, Mona Lisa
- early 1500s
- Oil on Wood
- suffered some where as he traveled with it
- he started painting his photos with a dark wash that helped him get those really nice dark tones
- dropped as painter as he was taking to long to finish it and that is why leonardo still had possession of it
- different type of portrait as most portraits before were side profiles and he placed the subject facing almost all the way forward and half length body giving the effect as a pyramid.
33
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22-8 Raphael, Madonna in the Meadow
- early 1500s
- oil on wood
- religious symbolism
- unlike leonardo’s they are in a bright meadow and the harbor is meant to suggest she is the port of our salvation.
- Raphael was a very happy cheery guy leading much of that to his work
- Has the same pyramid style with a strong central axis
- has a high key color palate with rich colors
34
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22-9 Raphael, Philosophy (School of Athens)
- early 1500s
- roughly 45 life size figures
- arranged in a wide oval with figures motions and gazes moving your eyes around the painting
- uses linear perspective on a grand scale
- very broad color pallet but kept in a very similar value range
