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38 Cards in this Set

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Leonardo da Vinci
(1452-1519) accomplished scientist, engineer, and artist. master of High Renaissance. Studied under Verrocchio as young man, and later under patronage of Duke of Milan.
Madonna of the Rocks
Leonardo da Vinci late 15C
Madonna with John the Baptist and Christ, with pyramidal composition, natural background (as opposed to architectual), chiaoscuro, and sfumato.
Chiaroscuro
contrast between light and dark. The use of effects representing contrasts of light, not necessarily strong, to achieve a sense of volume in modeling three-dimensional objects such as the human body.
Sfumato
technique of blurring/softening sharp outlines by subtle/gradual blending (feathering) of one tone into another. Smokelike haziness lend to a vague sense of movement-best known in Italian Renaissance paintings by artists like Da Vinci and Correggio.
Leonardo- Last Supper
late 15C
His most accomplished work, a fresco painted for the church of Santa Maria della Grazie in Milan. Apostles in four dramatic groups of three to highlight Christ and the two sets of Apostles beside him. Window frames Christ "portrait"
Mona Lisa
early 16C, Leonardo's most famous work. Master of chiaroscuro and sfumato.
Embryo in the Womb
Leonardo Da Vinci early 16C
Michelangelo Buonarroti
(1475-1564) employed in Rome by the popes- arguably the most powerful force in the sixteenth century Renaissance.
Michelangelo's David
early 16C
Inspired by the classical statuary- shows contrapposto and "athletic" tension of Late Classical period. Deep carving, twisting pose, and emotional depth of Hellenistic period. First large-scale nude to be publicly displayed since antiquity.
Michelangelo's Moses
16C, part of Pope Julius II's tomb. Prophet is depicted holding the Tablets of the Law.
Sistine Chapel
early 16C, by Michelangelo for Pope Julius II
The center of the ceiling contains scenes from the beginning of Genesis and alongside of the Genesis panels are alternating Hebrew prophets and pagan Sibyls.
Creation of Adam from the Sistine Chapel
early 16C Michelangelo
God on the right is surrounded by the future generation of Adam's race. He reaches out from Heaven, giving life to Adam. Concave shape of Adam's body and convex shape of God shows intimacy.
Tombs of the Medici
early 16C by Michelangelo, tombs for Pope Leo X's younger brother and his nephew. There is tremendous psychological depth, characteristic of Michelangelo's style.
Last Judgment from the Sistine Chapel
mid 16C, commissioned by Pope Paul III as a part of the Counter-Reformation campaign. Jesus beckons elect to Heaven with left hand and damns others to Hell with left. Even painted himself into it.
Raffaelo Sanzio (1483-1520)
aka Raphael
(April 6 or March 28, 1483 – April 6, 1520) was an Italian painter and architect of the High Renaissance, celebrated for the perfection and grace of his paintings and drawings.
Marriage of the Virgin by Raphael
early 16C
Shows marriage of Mary and Joseph; in background central-plan building
Madonna of the Meadows by Raphael
early 16C
Shows clearly influence of Leonardo (pyramidal figural composition and the subtle chiaroscuro of the figures) and Michelangelo (twisted poses).Has a bright defined landscape as he was more concerned with clarity than mystery. Remarkable serenity, grace, and harmony very characteristic of Raphael's work.
School of Athens
16C, Raphael
One of the frescoes for the Stanza della Segnatura, as the Philosophy wall. It has the Greek gods Apollo and Athena, and also has Plato, Aristotle, and Pythagoras.
Galatea
early 16C, Raphael
Mythological fresco made in the Agostini Chigi home (important figure in court of Julius II). Renowned for beauty and harmonious/graceful display of movement. Skillfully combines strength with beauty and power with grace.
Portrait of Baldassare Castiglione
early 16C, Raphael
An important literary figure in Renaissance ear. Employs then popular half-length and three-quarter view pose. Most striking feature is the honest, gentle, and elegant nature of the sitter.
Correggio
16C
Known for his use of light and shadow, colors, perspective, and movement that had a profound impact on 17C artists. His work referred to as "Proto-Baroque" Renowned for sensuality of his figures and disruption of Renaissance symmetry (ex- pyramid) in favor of naturalism.
Assumption of the Virgin Correggio
16C Correggio
in the dome of the cathedral of Parma realistic use of foreshortening
Bramante
Donato d'Angelo Bramante (1444-1514)
key work- the construction of a new Saint Peter's Basilica- Tempietto (early 16C) remains, borrows from classical past in tholos design and doric columns, but has balustrade and ribbed dome.
Balustrade
a rail, usually about three-feet high, supported by a series of posts (balusters), generally along the outside edge of a stairway or gallery.
Antonio da Sangallo the Younger
(1483-1546), favorite of Pope Paul III the Counter-Reformation pope. Best known for Palazzo Farnese, commissioned by Paul III.
quoins
In architecture, a large, sometimes rusticated, usually slightly projecting stone that often form the corners of the exterior walls of masonry buildings.
socle
A molded projection at the bottom of a wall or a pier, or beneath a pedestal or a column base.
Dome of St. Peter's Michelangelo
mid 16C
Modified Bramante's original central-plan design in order to more greatly unify the interior space, and unified the exterior by means of the colossal order and by tying the base of the drum and the dome together through architectural sculpture.
colorito
sixteenth century Venetian style that means colored or painted
desegno
sixteenth century Venetian style that means designed or drawn.
sacra conversazione
Theme of saints and martyrs from different eras placed together in a single composition.
pendent figure
balancing figure in a work of art.
The Tempest
Giorgione (early 16C)
Known for soft lighting and hazy, coloristic elements associated with the Venetian style. Purely imaginistic landscape is meant to elicit a poetic response (as opposed to analytical one), another characteristic of Venetian style.
Madonna of the Pesaro Family
Titian (early 16C) Work from Friar's Basilica commissioned as a thank offering after a successful campaign against the Turks during Venetian-Turkish War. Artistically majestic and dynamic piece because main figures are in a diagonal order which speeds viewer's eyes to the Madonna, while the battle flag and other Pesaros offer balance.
"Madonna of the Long Neck"
Parmigianino mid 16C shows artificial grace and elegance that was the aim of later Mannerist works. Extremely small head, elongated neck, limbs, hand and fingers, give sense of delicate grace.
"Venus, Cupid, Folly and Time"
Bronzino, mid 16C
Masterpiece of mannerism, especially crowded, complex scene (with a void near the center), complicated figural poses, and intertwining and overlapping figures. Ambiguous allegorical representation also illustrate how far mannerists were removed from straightforward themes of High Renaissance works.
Mannerism
Characterized by a reaction against the balance, proportion and harmony of the High Renaissance. Purposefully painted unbalanced, distorted and crowded compositions often with strangely elegant figures featuring elongated body parts and contorted poses.
contour lines
Lines that surround and define the edges of a subject, giving it shape and volume.