Art 223

Front 1

What Is this?

Back 1

Duccio, Maesta Altarpiece,
1308-11
(14th C Italian Renaissance)

Front 2

Whats Is This?

Back 2

Simoni Martini, Annunciation
1333(14th C Italian Renaissance)
-Olive Branch

Front 3

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Back 3

Masaccio, Holy Trinity 1428
(15th C Italian Renaisance)
-Memento Mori

Front 4

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Back 4

Paolo Uccello, The Battle of San Romano, 1455
(15th C Italian Renaissance)

Front 5

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Back 5

Piero della Francesca, Madonna and Child with Saints and the Duke of Urbino, 1472-74 (15th Italian Renaissance)
-Sacra Conversacione

Front 6

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Back 6

Donatello, David 1470
15th century Italian Renaissance

Front 7

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Back 7

Verrocchio, David, 1470 (15th C Italian Renaissance)

Front 8

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Back 8

Fra Angelico, Annunciation, 1440 (15th C Italian Renaissance)

Front 9

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Back 9

Fra. Filippo Lippi, Madonna and Child, 1455 (15th C Italian Renaissance)

Front 10

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Back 10

Leonardo da Vinci, Mona Lisa, 1503-06 (High Renaissance)
-Sfumato

Front 11

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Back 11

Michelangelo, David, 1501-1504 (High Renaissance)

Front 12

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Back 12

Raphael, Madonna of the Meadow, 1505 (High Renaissance)
-Chiaroscuro

Front 13

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Back 13

Giorgione, The Tempest, 1510 (High Renaissance- Venetian School)
-Cabinet Paintings

Front 14

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Back 14

Titian, Meeting of Bacchus and Ariadne, 1522 (High Renaissance- Venetian School)

Front 15

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Back 15

Caterina van Hemessen, Self-Portrait, 1548 (16th C Northern Renaissance)
-Maulstick

Front 16

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Back 16

Gianlorenzo Bernini, Baldacchino, St. Peter’s, Rome, 1624-33 (Italian Baroque)

Front 17

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Back 17

Gianlorenzo Bernini, Ecstasy of Saint Teresa, 1645-1652 (Italian Baroque)

Front 18

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Back 18

Caravaggio, Conversion of St. Paul, ca. 1601 (Italian Baroque)

Front 19

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Back 19

Artemesia Gentileschi, Judith Slaying Holofernes, 1614-1620 (Italian Baroque)

Front 20

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Back 20

Peter Paul Rubens, Allegory of the Outbreak of War, 1638 (Flemish Baroque)
-Flanders

Front 21

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Back 21

Anthony van Dyck, Charles I Dismounted, 1635 (Flemish Baroque)

Front 22

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Back 22

Rembrandt, Night Watch, 1642 (Dutch Baroque)

Front 23

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Back 23

Judith Leyster, Self-Portrait, 1630 (Dutch Baroque)

Front 24

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Back 24

Jan Vermeer, Allegory of the Art of Painting, 1670-75 (Dutch Baroque)
-Narrative

Front 25

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Back 25

Diego Velázquez, Las Meninas, 1656 (Spanish Baroque)

Front 26

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Back 26

Hyacinthe Riguad, Louis XIV, 1701 (French Baroque)

Front 27

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Back 27

Jan Van Eyck, The Arnolfini Wedding, 1433 (15th C Northern Renaissance)

Hint 27

-Dog: loyalty
-red curtains might allude to the physical act of love between the married couple
-The chandelier has one lit candle signifying matrimony and the unity of marriage
-The spotless convex mirror on the back wall alludes to purity, and the reflection of two other individuals in the room (including the painter) infers that witnesses are present

Front 28

?

Back 28

Hieronymous Bosch, Garden of Earthly Delights, 1500 (15th C Northern Renaissance)

Hint 28

-fruits:another term for sex
-dog:loyalty
-oyster-sex
-owl

Front 29

?

Back 29

Hans Holbein the Younger, The French Ambassadors, 1533 (16th C Northern Renaissance)

Hint 29

-right man-long coat, man of the church
-left man of world-short coat
-charm on neck orders St. Michael, opposed to division of church
-anamorphic skull- vanitas "everything passes"

Front 30

?

Back 30

Pieter Aertsen, Meat Still-Life, 1551 (16th C Northern Renaissance)

Hint 30

-Pretzel crossed fish: spiritual food
-mary joseph
-otherside glutony & life of pursuit
-oyster

Front 31

maesta

Back 31

majesty, used for depiction of the Virgin Mary

Front 32

vanitas

Back 32

type of symbolic art (still life) flourished in neverlands and flanders in 16 and 17 centuries
"everything passes"

Front 33

mannerism

Back 33

later Renaissance art that emphasized "artifice," contrived gesture, costume not naturally appearing: polish, self-consciousness, fantasy, fluidity, symmetry, even parody of such people, gestures, and situations

Front 34

memento mori

Back 34

symbol or "reminder" of death, usually a skull

Front 35

Sfumato

Back 35

smoky haziness used to soften lines in paintings, especially Leonardo and Corregio

Front 36

tempera

Back 36

color derived from mixing egg yolk, glue, pigment, and/or casein (milk protein)

Front 37

Fresco

Back 37

wet plaster cistine chapel

Front 38

Reformation

Back 38

North broke away from catholic church, started by Martin Luther

Front 39

Counter- reformation

Back 39

Catholic Church tried getting people back recognized they were messed up, influence through art

Front 40

Flander

Back 40

Flemish Art

Front 41

Maniera Greca

Back 41

byzantine style
-no portraits
-little naturalism
-Gold

Front 42

Stigmata

Back 42

Jesus Christ Nails
St. Francis Assis

Front 43

Grisailles

Back 43

Stone Like

Front 44

Guilds

Back 44

Training Artists

Front 45

Humanism

Back 45

Classical Antigua

Front 46

High Renaissance

Back 46

1500-1520

Front 47

Differences between Italian and Northern Art and their depictions of the human form

Back 47

Italian Renaissance artists in the South had an instinctive understanding of the human form and its beauty. Northern Renaissance artists were never comfortable with the depiction of the human form. They had differences in artistic style and artistic intentions. Italian artists would have viewed Grunewald' and Bosch's works as fantastic and devoid of order or any theory based on the observation of nature.

Hint 47

Northern Renaissance was characterized by Use of the qualities of fantasy, imagination, expression create the appearance of Northern Renaissance Art to look abstract, expressionistic, and individualistic in its use of line and color. Norther Renaissance artists had an instinctive feel for color and line. they used color and line for expressive purposes, for emotion, imagination, and fantasy.

Front 48

Factors that contributed to the rise of Renaissance culture

Back 48

-New Secular Hunger for Discovering Texts
-Reintroduction of Classical Works
-The Political Situation: The Need for Display and Administration
-New Wealth and the Black Death
-Development of Renaissance Humanism
-Peace and War

Front 49

The differences between tempera and oil paint and the effect of oil paint on Renaissance art

Back 49

Tempera was egg based paint,it could not be stored so each color had to made on spot. Had to mix exact amount of paint cause matching it was difficult. Renaissance took hold, artists became more interested in describing what the world around them looked like in their paintings. As landscapes and real people began to appear in paintings, the problem of tempera became more apparent. Oil paint provided a solution.

Front 50

The purpose and aims of the Counter Reformation and its influence on art history

Back 50

Bring people back that had left because of the reformation and and they did a lot of trough the art influence.