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37 Cards in this Set
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Cimabue, Madonna Enthroned with Angels & Prophets, 1280-1290 tempera & gold leaf on wood P. 416 |
*late Medieval Italy *still has reliance on Byzantine models *3 sections: main figures in the central panel and surrounded by the supporting figures in the other panels *no depth, flat *hierarchy of scale with the main figure, but no perspective with smaller figures *gold flat image *Mary is sitting in the thrown, and actually seems to have some weight as apossed to Saint Francis *the folds are not just decoration anymore as with saint francis, they enhance three dimensions *deeper space, common in Byzantine art *massive thrown receding into space |
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Giotto, Lamentation (Arena Chapel), 1305-1306 Padua, Italy, c. 1305. Fresco P. 420 |
*arranged a shallow stage for the figures, bounded by a thick diagonal rock inline declining a horizontal ledge in the foreground. Ledge provides firm visual support for the figures. *each group has its own definition, and each contributes to the rhythmic order of the composition. *figures seen from the back represent an innovation in the movement away from the Italo-Byzantine style. These figures emphasize the foreground, aiding the visual placement of the intermediate figures farther back in space. *depicted spatial depth and body mass with management of light & shade. *shaded figures to indicate both the direction of the light illuminating their bodies & the shadows (diminished light) giving volume. *graded continuum of light an shade, directed by an even, neutral light from a single steady source = first step towards development of CHIAROSCURO *light falls upon the upper surfaces of the figures (central bending figures) *iconic theme is Christian Redemption *shallow space blocked by a thick rock creating a horizontal edge and bringing your eye directly to the focal point |
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Duccio, Betrayal of Jesus (Maesta), 1308-11 P. 421 |
* Duccio collapses time and concurrently depicts three events within a traditional background: *Christ's betrayal by Judas' kiss; *the hasty exit by his disciples on the right; and *at the left, Peter removing the ear of a high priest's servant. *Observe the graceful draping of the men's robes, and the convincing mass of the men in them. Duccio allows the figures to react with discernible emotion - there is fear in the eyes of the fleeing disciples; anger on Peter's face and hatred on Judas'. Of all Duccio's famous paintings, Maesta most strongly altered art history. *Duccio took a decisive step toward the humanization of religious subject matter *figures are imbued with mass, modeled them with a range of tonalities from light to dark, and arranged their draperies around them convincingly. *posture, gesture, facial expression display a variety of emotions |
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Simone de Martini, Annunciation, 1333 from the altar of Saint Ansanus, Siena Cathedral, Siena, Italy tempera & gold leaf on wood, center panel P. 425 |
*instrumental in creating the so-called INTERNATIONAL GOTHIC STYLE *intricate tracery of the richly tooled (reconstructed) French Gothic-inspired frame and the elaborate punchwork halos (by then a characteristic feature of Sienese panel painting) enhance the tactile magnificence of the altarpiece. *radiant colors, fluttering lines, and weightless elongated figures in a spaceless setting. *the vaseof white lilies between the two figures symbolizes the Virgin's purity. *tremendous import of the angel's message, the scene subordinates drama to court ritual, and structural experimentation to surface splendor. *the two lateral saints are reminiscent of the jamb statues of Gothic church portals, have greater solidity and lack the linear elegance of Martini's central pair. *three panel paintings |
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Pietro Lorenzetti, Birth of the Virgin 1342 from the altar of Saint Savinus, Siena Cathedral, Siena, Italy tempera on wood P. 425 |
*contributed to general experiments in pictorial realism in 14th century Italy *triptych (three-part-panel) *painted the timber architectural members dividing the altarpiece into three sections as though they extended back into the painted space. *viewers look through the frame. *characterized ancient Roman mural paintings *painted a detailed interior an upper-class Italian home of the period *receding lines enhance the sense of depth * sophisticated handling of perspective and the logical placement of figures within space. * |
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Ambrogio Lorenzetti, Peaceful City (detail from Effects of Good Government in the City and in the Country) 1338-1339 wall of the Sala della Pace fresco P. 427 |
*depicted rural and urban effects of good government *shows perspective *first examples of a pure landscape in Western art since antiquity *has the character of a portrait of a specific and environment *dancing served as a metaphor for a peaceful commonwealth * |
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Robert Campin (Master of Flemalle), Merode Altarpiece (open) 1425-1428 oil on wood, center panel P. 440 |
*late medival/ early renissance in northern Europe *three different panels(triptych) *left- we see the patrons or donors who commissioned this painting( merchant class starting to be able to afford painings) *center- Annunciation the Angel Gabriel announces to Mary that she is about to conceive the Christ child. The Holy Spirit *right- Nearly every item that we see in the Merode Altarpiececis really a religious symbol *Christ child bearing cross- crucifixion+ incarnation *lily+copper kettel- virgin purity *extinguished candle- god become human *scroll+book- old testament, new testament, christ and Mary's roles in fulfilling prophecy * |
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Jack van Eyck, Ghent Altarpiece, 1432 oil on wood P. 441 |
*Jan used oil paints to render the entire altarpiece in a shimmering splendor of color that defies reproduction. *became a hallmark of Flemish panel painting in the 15th century. * reveals a colored painting of human redemption through Christ. *God the Father presides in majesty by wearing a deep-scarlet and the pope's triple tiara. *represents Ghent's patron saints, John the Baptist and John the Evangelist. *the panels of the lower register extend symbolism of the upper. *Lamb symbolizes the sacrificed son of God, whose heart bleeds in chalice, while into the fountain spills the "pure river of water of life, clear as crystal, proceeding out of the throne of God and of the Lamb". *the altarpiece celebrates the whole Christian cycle from the fall of man to the redemption. |
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Jack van Eyke, Giovanni Arnolfini & His Bride, 1434 oil on wood P. 443 |
*late medival/early renaissance *Symbolic elements: *Clogs- holy ground *dog symbolizes fidelity * Bedpost nial carved as St. Margaret (patron saint of childbirth) *Whisk broom- domestic care *artist functions as a witness *Oranges- fertility *Scenes of Passion surround mirror * Lit candle in chandelier- all seeing eye of god *distinguished textures *recorded marriage vows |
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Rogier van der Weyden, Deposition, 1435-1442 oil on wood P. 445 |
*center panel of a triptych *crossbow- guilds symbol *compressed the figures and action onto a shallow stage with a golden back wall *resembles a stratified relief carving *series of lateral undulating movements gives the group a compositional unity, formal cohesion that Rogier strengthened by depicting the sorrowful anguish many of the figures share. *among the most moving and unforgettable images of in religious art. |
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Hans Memling, Tommaso Portinari & Maria Baroncelli, 1470 tempera on oil P. 450 |
*The panel is the right wing of a devotional and hinged triptych; *The panels were commissioned by Tommaso, a member of a prominent Florentine family. *Maria's face is idealised and conforms to contemporary ideals of beauty, especially in the raised eyebrows and elongated nose * |
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Martin Schongauer, Saint Anthony Tormented by Demons, 1480 Engraving P. 458 |
*used a burin to incise lines in a copper plate to create a marvelous variety of tonal values and textures. *shows both the versatility of the medium and the artist's mastery of it. *artist incised lines of varying thickness and density into a metal plate and created marvelous distinctions of tonal values and textures-from smooth skin to rough cloth, from the furry and feathery to the hairy and scaly. *uses crosshatching-sets of engraved lines at right angles. *political geography of Europe had changed dramatically. *late medival/early renissance in Northern Europe |
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Donatello, St. Mark, 1411-13 niche on the south side Italy, ca Marble figure P.466 |
*fundamental step toward depicting motion in the human figure by recognizing the principle of weight shift. or contrapposto. *as the saint's body "moves" his garment "moves" with it, hanging and folding naturally from and around different body parts so that the viewer senses the figure as a nude human wearing clothing. *first Renaissance statue whose voluminous robe (the pride of the Florentine guild that paid for the statue) does not conceal but accentuates the movement of the arms, legs, shoulders, and hips. *this development further contributed to the sculpted figure's independence from its architectural setting. *Saint Mark's stirring limbs, shifting weights, and mobile drapery suggest impending movement out of the niche. |
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Donatello, David, c. 1440-1460 Bronze P. 469 |
*Quattrocentro Italy *First Freestanding Sculpture since Fall of Roman, Greece *5 Feet High- Life Sized, Part of Fountain *displayed in the courtyard of the Medici palace in Florence *reinvented the classical nude *statue is of the youthful biblical slayer of Goliath who had become the symbol of the Florentine Republic *relaxed contrapposto *360 View- statue *enclosed Form, Sculpurtal Language *13 year old boy *Smooth Surfaces against Broken Surfaces |
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Masaccio, Tribute Money, (Brancacci Chapel) Santa Maria del Carmine, Florence, c. 1424-27 Fresco P. 475 |
*Modeled figures with light coming from a source outside the picture. *Quattrocentro Italy *Giotto’s influence is evident in the weight and solidarity of the figures and the vividness of their expressions *Greater use of directional light allowing him to create even more convincing life-like paintings *Masacco utilized linear and atmospheric perspective *Jesus and followers dipicted as neo-classical archotypes *depicted an episode from the Gospel of Matthew. *light has it's own nature and the masses are visible only because of it's direction and intensity. *composition is starkly simple, its message incomparably eloquent. *arrangement of figures is inventive, they do not stand in the foreground. *grouped figures in circular depth around Jesus, and placed the whole group in a spacious landscape. *depicted the building in perspective, locating the vanishing point, where all the orthogonals converge, Jesus's head. |
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Masaccio, Holy Trinity, Santa Maria Novella, Florence, c. 1424-27 Fresco P. 476 |
*Quatrrocentro Italy *Private family tombMoney to pay for private chapels that hold private tombs *Commissioned to create wall for tomb *Fool eye all with painting- flat fresco wall made to look with tomb underneath it and a barrel vault that extends back into space *4 patrons dressed in traditional Florentine garments *Major destination of artist from the Early Renaissance and on *Meant to believe we are looking at a marble altar and coffin; columns and plasters; Roman barrel vault *Vision of the crucifixion and Holy Trinity *Complete exercise in linear perspective *"I was once that which you are and that which I am you will also be" carved over head of the skelton (human beings is a very temporary moment) *Meant to believe skeleton projects out to us; barrel vault receding back into a room that isn't there *Taking advantage of where we exist in real time and space *vanishing point is at the foot of the cross *Christ's blood runs down the cross on the painted ledge below-a reference to the symbolic blood of wine of the Eucharist on the church's altar. *dove of the Holy Spirit hovers between God's head and Christ's head. |
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Fra Angelico, Annunciation, San Marco, Florence Italy, 1438-1447 fresco P. 477 |
*simple and direct *Quattricento *presented the scene of the Virgin Mary & the Archangel Gabriel with simplicity and serenity. *two figures appear in plain loggia resembling the portico of San Marco's cloister *painted all the fresco elements with a pristine clarity befitting the fresco's function as a devotional image. *the unnatural lighting removes the sacred event from the everyday world. *universal appeal *figures do not cast shadows |
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Fra Filippo Lippi, Madonna & Child with Angels, 1445 tempera on wood P. 478 |
*Virgin sits in prayer at a slight angle to the viewer. *primary interest wasn't in space but in line, which unifies the composition and contributes to the precise and smooth delineation of forms. * all the figures reflect the use of live models. *shows how far artists had carried the humanization of this traditional religious theme. *developed a linear style that emphasized the contours of his figures and enabled him to suggest movement through flying and swirling draperies. * |
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Paolo Uccello, Battle of San Romano, 1455
tempera on wood P. 478 |
*Quattrocento Florentine art *secular side of Renaissance art *commemorate the Florentine victory over the Sienese in 1432 *created a composition that recalls the processional splendor of Gentile da Fabriano's International Gothic-style Adoration of the Magi yet also reflects Uccello's obsession with perspective. *he foreshortened broken spears, lances, and a fallen soldier and carefully placed them along the converging orthogonals of the perspective system to create a base plan akin to a checkerboard *three-dimensional form |
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Sandro Botticelli, Primavera, (Spring), 1482 tempera on wood P. 481 |
*lyrical painting celebrating love in springtime *blue, ice-cold Zephyrus, the west wind, carries off the nymph, Chloris, whom he transforms into Flora, goddess of Spring *Venus is the goddess of love *elegant and linear style *the painting sums up the Neo-Platonis's view that earthly love is compatible with Christian theology. * |
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Filippo BruneIleschi, Santo Spirito, 1434-1436 (begun 1446)
P. 484 |
*Quattrocentro Italy *an all-encompassing modular design for the church that extended even to the diameter of the shafts of the nave columns and the dimensions of their Corinthian capitals. The nave has a simple two-story elevation (nave arcade and clerestory) with a flat, coffered timber roof. The columns support impost blocks form which roucd arches spring. *embodies the new Renaissance spirit of the Florentine orphanage loggia in their austerity and rationality. *Latin cross: basilica (basilican plan)Elements, nave, transept, crossing (140 feet across), clerestory, bay *Secondary hallway at 90 degrees (point where those meet- crossing) *Horizontal lines that lead us from front entrance of the church to the crossing *Space can accommodate 30,000 people but not the 100,000 people in Florence at the time *Repetitive circles *These cathedrals aren't built quicklyStood unfinished for about 120 year *Goal was for all of Florence to worship under the same roof *Done in Italian way rather than Northern Gothic way Vaulted stone roof- wooden scaffolding |
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Leonardo da Vinci, Last Supper, 1495-1498 oil and tempera on plaster P. 506 |
*Leonardo's largest, most impressive work *the pediment is the only curve in the architectural framework, it serves as a halo. *Jesus's head is the focal point of all converging perspective lines in the composition. *the two dimensional, three dimensional, and psychodimensional focuses are all the same. *sacrificed traditional iconography to pictorial and dramatic consistency by placing Judas on the same side of the table as Jesus and the other disciples. *Judas's face in is shadow *each figure carries a particular charge and type of emotion. *mixed oil and tempera and applied much of it as a secco (dried, rather than wet, plaster) in order to create a surface appearance that more closely approximated oil painting on canvas on wood. |
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Leonardo da Vinci, Mona Lisa,1503–1505 oil on wood P. 507 |
*world's most famous painting *Renaissance etiquette dictated women do not look directly into a man's eyes. *smoky sfumato (misty, haziness) his subtle adjustment of light and blurring of precise lines. |
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Raphael, Madonna in the Meadow, 15015-06 oil on wood P. 510 |
* Cinqentrocino italy (16th century) *emulating leonardos pyramid shape *doesnt have true sfumato *pyramidal composition and modeling of faces and figures in subtle chiaroscuro. *set his Madonna in a well-lit landscape and imbued her with grace and dignity *Raphael preferred clarity to obscurity *depicts Mary as a beautiful young mother interacting with her young son |
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Raphael, Philosophy, (School of Athens), 1509-11 , Stanza della Segnatura, Vatican, Rome, fresco P. 511 |
*16th century italy *Part of four murals in the library of the Vatican palace( philosophy, theology, law, and poetry) *Draws on classic architecture, with large arches and statues. *Practitioners and key people to the development of philosophy are put in the painting *Athena and appollo are put in stone *Plato and Aristotle are put right in the center and represent to the two vains of thinking *Plato- on left and pointing up *Account of formation of the universe: attempt to explain its order and beauty *Aristotle- right pointing out *Addresses questions of how men should best live , examining the characteristics humans need to best live *The two figures form an organizational element *Followers of each are on their sides *Heraclitus- on the left bottom leaning on the box *Raphael is included as well *two-dimensional surface *the self-assurance an natural dignity of the figures convey calm reason, balance, and measure-those qualities that Renaissance thinkers admired as the heart of philosophy. |
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Michelangelo, David, 1501-04 marble P. 515 |
*16th century italy *Michelangelo in generally Is known for Terribiata- Emotional intensity, physical power, dramatic excitement *Bodies contain the emotions-compared to donatello's *Michelangelo has a lot of emphasis on the anatomy of David looks more manly *Michelangelos- The perspective is off the head is large, the hands are huge *Michelangelos- about to fight goliath *compositionally and emotionally connected to an unseen presence beyond the statue. *captured in his portrayal of the biblical hero the tension that is a key ingredient of the athletes. |
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Michelangelo, Creation of Adam, 1511-12 fresco P. 520 |
*bodies of the two figures are complementary *life leaps to Adam like a spark from the extended hand of God in this fresco *God seems aggressive and about to give life *recalls the communication between god and heroes in the classical myths that Renaissance humanists greatly admired. |
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Bramante, Tempietto, San Pietro in Montorio, Rome, Italy, 1502 P. 523 |
*first architect to revive the classical style *one of the main differences between the Early and High Renaissance styles of architecture is the former's emphasis on adorning flat wall surfaces versus the latter's sculptural handling of architectural masses. *consistent with the humanistic values of the day, based on ancient Roman models. *had the look of a small ancient temple. |
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Giorgione (and/or Titian?, Pastoral Symphony, ca, 1508-1510 oil on canvas P. 532 |
*the fullness of their figures became the standard in Venetian art and contributes to their effect as poetic personifications of nature's abundance. *their nudes are neither precise anatomical studies nor idealized forms based on mathematics. |
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Titian, Assumption of the Virgin, 1516-1518 oil on wood P. 533 |
*the golden clouds seem to glow and radiate light into the church. *God the Father appears above, slightly off-center, awaiting Mary with open arms *over-life size apostles gesticulate wildly as they witness the glorious event *vibrant color to infuse the image with intensity and amplify the drama |
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Titian, Venus of Urbino, 1536-38 oil on canvas P. 535 |
*16th century italy * For the duke of Urbino *Cut into foreground/ background *The reds balance the painting * The puppy helps to balance the weight of foreground/ background * Underlying geometric shapes *Uses the texture of the canvas to create the soft transitions from the outline of the figure to the center *Pushed the boundaries of what was known to be possible with oil paints * Titian has her looking right back at the figure *two deep reds in the foreground play a critical role in the composition as a gauge of distance and as indicators of an implied diagonal opposed to the real one of the reclining figure. *Titian used color not simply to record surface appearance but also to organize his placement forms. |
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Sofonisba Anguissola, Portrait of the Artist’s Sisters and Brother, 1555 oil on wood P. 542 |
*Northern Italy *characterized by an informal intimacy and by subjects that are often moving *the portrait represents members of artists family *neutral background *relaxed poses and expressions *her sympathetic personal presentation, and her graceful treatment of the forms brought her international acclaim. |
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Jacopo da Pontormo, Entombment of Christ, 1525–1528 oil on wood P. 438 |
*represents a departure from the compositions of the earlier Renaissance *mannerism * No way to know exactly where in the narrative the scene is *A floating quality, very bright and don’t seem to be holding the weight of a dead body *The bodies are off they have long backs/ spines * No super clear center besides the void of hands *omitted both cross and and the tomb *the grouping of hands filling that hole, calling attention the the void is symbolic of loss and grief *the contrasting colors, primarily light blues and pinks add to the dynamism and complexity *painting represents a pronounced structured comp of High Renaissance |
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Parmigianino, Madonna with the Long Neck, 1534-1540 oil on wood P. 540 |
*exemplifies the elegant stylishness that was a principal aim of Mannerism |
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Bronzino, Venus, Cupid, Folly, & Time, 1546 oil on wood P. 541 |
*special interest are of the heads, hands, and feet, considered to be the carriers of grace, and the clever depiction of them evidence artistic skill |
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Giovanni da Bologn, Abduction of the Sabine Women, 1579-1583 marble P. 547 |
*first large-scale group since classical antiquity designed to be seen from multiple viewpoints *three bodies interlock to create a vertical spiral movement |
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Paolo Veronese, Christ in the House of Levi, 1573 oil on canvas P. 543 |
*superb color and majestic classical setting |
