UVU Art History II Flashcards
Arena Chapel-Lamentation
Giotto, Early Italian Renaissance, Fresco, Padua
- Depth
- Individual features and poses
- Foreshortened angels
- Slope leads eye to Christ
- Christ’s body framed by figures’ backs
David
Donatello, Early Italian Renaissance, Bronze, Florence
- Comissioned by the Medici’s
- Classical theme hidden by Christianity
- Either Dionysus of Mercury
- Nearly life size bronze casting (lost method)
Trinity
Masaccio, Early Italian Renaissance, Fresco, Florence
- Mathematical depiction of space
- Height and vanishing point lead eye to Christ.
- Devotional painting.
The Birth of Venus
Boticelli, Early Italian Renaissance, Painting, Florence
- Rejects concern about perspective
- Flat background
- Classical subject matter in a Christian world.
- Christianity imported into Classicism (Analogy of the Christian soul).
David
Michelangelo, High Italian Renaissance, Marble, Italy
- Apollo, god of Arts and Sciences
- Classicism accepted fully
- Meant to be 60’ in the air
- Liked so much they put it in the center of town.
Sistine Chapel
Michelangelo, High Italian Renaissance, Fresco, Rome
- Not a passive God, God as an artist
- Pagan imagery imported into Christianity
- 2 phases, 1st phase was too small
- Michelangelo never wanted to do the ceiling, he thought of himself as a sculptor, not a painter.
The Last Supper
Leonardo da Vinci, High Italian Renaissance, Fresco, Milan
- Color and Depth
- Mathematical and atmospheric perspective
- Window, not halo
- People in groups of 3
- Composition and Light sources
- Judas in shadow
School of Athens
Raphael, High Italian Renaissance, Fresco, Rome
- Artist’s faces on classical philosophers drawing a parallel betweeen artists and thinkers.
- Perspective
- Private apartments of the pope.
- Roman architecture based off of actual ruins.
- Statues of Apollo and Athena, Gods of Art and Wisdom.
Arnolfini Wedding Portrait
Jan Van Eyck, Northern Renaissance, Paint, London
- Mirror with witnesses and Christian symbolism around the edges.
- Lapdog for loyalty
- Fruit for prosperity
The Garden of Earthly Delights
Heironymous Bosch, Northern Renaissance, painting, Madrid
- Iconography and Symbolism
- Fantasy setting
- Somewhat surreal and strange
- Birds and Fruit for fertility
- Alchemical symbolism
Madonna of the Long Neck
Parmagianino, Mannerism, Paint, Florence
- Elongated forms
- Oversized child
- Man in the background is way too small
The Burial of Count Orgaz
El Greco, Mannerism, Paint, Spain
- Dioces scene
- Upper half more expressive
- Lower half more traditional
- Importance of the hierarchy of hte church.
- Mary and John the Baptist intervene on a soul’s behalf.
David
Bernini, Italian Baroque, Marble, Rome
- Full of movement and is dynamic
- Moment of action
- Intense facial expression
- Kinetic energy as opposed to restrained energy.
The Ecstasy of St. Teresa
Bernini, Italian Baroque, Mixed Media, Rome
- Use of bronze rods to direct light
- Moment of action
- Dynamic
- Intense facial expression
Venus of Urbino
Titian, Venetian Renaissance, Painting, Florence
- Division of space into progressively smaller units.
- Line of curtain pulls focus and divides foreground from background.
- Use of color in composition.
Merode Altarpiece
Robert Campin, Northern Renaissance, Paint, New York
- No concern for perspective
- Full of the symbolism characteristic of the Norther Renaissance.
- Rich color.
The Calling of St. Matthew
Caravaggio, Italian Baroque, Paint, Rome
- Ordinary people as models
- Use of light (or lack thereof) to create composition.
- Symbolism of the coins.
- Contemporary and Classical dress.
Judith Slaying Holofernes
Artemesia Genitleleschi, Italian Baroque, Paint, Florence
- Artemesia was raped and won the case after enduring torture. Obviously influenced her subject matter.
- Her and her father were the first of the Caravaggisti.
- Use of a single light source.
Las Meninas
Diego Velazquez, Spanish Baroque, Paint, Madrid
- A painting about painting.
- Parents in the mirror.
- Painted himself with a level of knighthood he did not have.
- expressive and loose brush strokes.
The Nightwatch
Rembrandt, Dutch Baroque, Paint, Amsterdam
- Could be parody or satire.
- Rembrandt’s daughter as an angel.
- Big and Beautiful but also confusing.
- Patrons were not pleased.
- Cacophonous, scattered.
Malle Babbe
Frans Hals, Dutch Baroque, Paint, Berlin
- Very expressive and loose brush strokes.
- Scene of everyday life that is characteristic of the Dutch Baroque.
The Doctor’s Visit
Jan Steen, Dutch Baroque, Paint, Philadelphia
- Vast amounts of symbolism that tells the audience that the patient is not really sick, but pregnant.
- The amount of symbolism with in an everyday scene is characteristic of the Dutch Baroque.
