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47 Cards in this Set
- Front
- Back
Who painted this? What is painting title? |
Konrad Witz, "Christ Walking On The Water" |
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What is this? |
Chartres Cathedral, France |
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What Are these? |
"Column Sculptures", Chartres Cathedral France |
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Who painted this? What is the painting title? |
Melchior Broederlam "Presentation/Flight into Egypt" |
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Who sculpted this? Where is it located? |
Claus Sluter, "Entrance Sculptures of the Charterhouse at Champol, France" |
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Who painted this? |
The Limbourg Brothers, "February" From the Tres Riches Heures Duc De Berry |
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Who painted this?What is the title? |
Lorenzo Monaco, "Adoration Of The Magi" |
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Who painted this?What is the title? |
Gentile Da Fabriano, "Adoration Of The Magi" |
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Who painted this?What is the title? |
Unknown German Master, "Paradise Garden" |
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Who painted this? |
Pisanello (and/or Stefano da Verona?) “Paradise Garden” |
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Who sculpted this?What is the title? |
Ghiberti, “The Flagellation” on the North Doors of the Baptistery, Florence, ITALY |
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Ghiberti, “St. Matthew” on the façade of Orsanmichele, Florence, ITALY |
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1. Melchior Broederlam’s “Annunication and the Visitation” and “The Presentation and the Flight into Egypt” (1393-99) have the sensitiveness of a newly awakened feeling for ____________ detail. |
NATURAL |
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2. Claus Sluter’s masterpiece “The Well of Moses” (1395-1403) contains a group of six prophets that astonishes by the qualities of intense observation of _______. |
NATURE |
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3. The Limbourg Brothers’ “Tres Riches Heures of the Duke of Berry” (1412-16) contains thin and elegant figures that have no real __________ – the artist(s) have been more concerned with the rich and elaborate costumes than with any attempt to represent figures in three dimensions. |
WEIGHT |
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4. Pisanello’s passionate interest in birds, animals, and costumes makes him perhaps the supreme exponent of International _____________ until his death in 1455 or 1456. |
GOTHIC |
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5. An enchanting “Paradise Garden” by an unknown German Master working about 1415 which shows exactly the same charming and graceful style with its tenderness of sentiment and delicacy of ____________ unaffected by any austere aesthetic ideals |
DETAIL |
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1. Lorenzo Ghiberti’s panels for a second pair of doors for the Baptistery in Florence (1425-1452; which Michelangelo described as “Gates of Paradise”) show an interest in the ____________ and a modification of his Gothic line. |
ANTIQUE |
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2. Donatello’s small relief under his statue of St. George showing the saint on horseback slaying a dragon (1420) is treated ______ and with an infinitely sensitive use of the gradations of relief, so as to confer upon the marble plaque the pictorial qualities of recession into space and an imaginative feeling for an actual setting. |
REALISTICALLY |
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3. Donatello’s “Gattamelata” (1453) stems ultimately from the Imperator type of _______________ portraits. The ugly face, full of character, derives patently from the astonishing realism of Roman funerary busts. |
ROMAN |
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4. Masaccio’s “Rendering of the Tribute Money” (1425) has groups that are set in a landscape in such a way that the figures and the landscape obey the same laws of _________________, and all the forms are lit from the same point, which, in the case of the Brancacci Chapel frescoes, corresponds to the actual window of the chapel. |
PERSPECTIVE |
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5. Masaccio’s fresco of the “Trinity” (1427) uses ___________________ forms to create a convincing setting in depth for the figures of the donors, but not the supernatural figures. |
ARCHITECTURAL |
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6. Leon Battista Alberti’s vital importance lies in his _____________. In 1435 he wrote a treatise on painting and in 1450 a treatise on architecture. |
WRITINGS |
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1. The uncertain perspective of the “Annunciation” from “The Merode Altarpiece” (1425-28) – which our textbook credits to The Master of Flemalle, since identified as Robert Campin – indicates an increasing concern for __________ in setting and character. |
REALISM |
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2. A striking characteristic of the outside [closed version] of Jan van Eyck’s “Ghent Altarpiece” (1432) is the disparity in the ___________ of the various figures: no less than four changes exist between the three divisions. |
_SCALE |
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4. On the inside [open version] of Jan van Eyck’s “Ghent Altarpiece” (1432), the ___________________ is superb in quality, but the minute handling of jewels, crowns, [and] brocades never overwhelms the grasp of the structure of the whole figure. |
DETAIL |
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5. Nowhere in [the art of] Jan van Eyck is there any _________________. At most there is a vague, half-hearted movement, as in the St George in the “Madonna of Canon van der Peale” (1436), accompanied by a frozen smile, or half-smile of discreet contentment and pride in the face of the Madonna. |
DRAMA |
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6. [The painter Petrus Christus] is at best in portraits, for there he seems sufficiently interested to push his analysis beyond superficial statements about the features, and to interest himself in the flow of ________________ from more than one source. |
LIGHT |
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Ghiberti, “Jacob and Esau” on the East Doors of the Baptistery, Florence, ITALY |
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Donatello, “St. George” on the façade of Orsanmichele, Florence, ITALY |
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Donatello, "David" |
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Donatello, “Gattamelata” |
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Masaccio, “Madonna and Child” |
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Masaccio, “The Tribute Money” in the Brancacci Chapel |
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Masaccio, "Trinity" Santa Maria Novella |
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Brunelleschi, “The Foundling Hospital,” Florence, ITALY |
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Brunelleschi, “Pazzi Chapel” in Santa Croce Church, Florence, ITALY |
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Brunelleschi, “Santo Spirito Church,” Florence, ITALY |
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Alberti, “Palazzo Rucellai,” Florence, ITALY |
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Alberti, “Sant’Andrea Church,” Mantua, ITALY |
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Alberti, “Sant’Andrea Church,” Mantua, ITALY |
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Master of Flémalle [Robert Campin], “The Seilern Triptych |
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aster of Flémalle [Robert Campin], “The Merode Altarpiece” |
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Master of Flémalle [Robert Campin], “The Werl Altarpiece” |
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Hubert and) Jan van Eyck, “Ghent Altarpiece” |
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Jan van Eyck, “Man in a Red Turban” |
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Jan van Eyck, “Giovanni Arnolfini and His Bride” |
