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49 Cards in this Set

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Giovanni Bellini
example of Sacra Conversazione
-Virgin Mary sits enthroned, holding the chirst child, saints flanking her
-group in painted shrine
-saint lucy holding tray with eyes
-saint peter with key and book
-saint catherine with palm of martyrdom and broken wheel
-saint jerome with book representing translation of the bible into latin
-at foot an angel playing viol
-feeling of serenity and spiritual calm from harmonious and balanced presentation of color
-line is not the chief agent of form
San Zaccaria Altarpiece
1505
Titian and Giorgione
-Exemplifies poesia
-figures and landscape=soft forms emerging from shadow
-mood of tranquil reverie and dreaminess
-landscape=lost but never forgotten paradise
-two nude women and two clothed young men
-uncertain meaning mood is main point
Pastoral Symphony
1510
Giorgione
-interest in poetic qualities of natural landscape inhabited by humans
-lush landscape, stormy skies, lightning in the middle background(threaten tranquility)
-young women nursing baby
-man carrying staff not halberd
-no intended difinitive narrative
The Tempest
1510
Titian
-Painted for guidobaldo II, duke of urbino
-italian women in her bed chamber
-two servants bend over chest, searching for garments
-constructed view backward into space and the division of space into progressively smaller units
-color plays prominent role-show distance and opposed diagonal
Venus of Urbino
1538
Titian
-rich surface textures and lots of color
-made for Pesaro bishop of paphos in Cyprus after succesful campaigne against turks during venetian turkish war
-mary receives commander, he is kneeling at foot of her throne
-behind commander is turkish prisoner
-saint peter on steps of throne
-saint francis introduces ohter Pesaro family on right side
-madonna and saints honoring acheivements of a specific
-placed figures on a steep diagonal with madonna as focus and off central axis
-drew attention to her through perspective lines
Madonna of the Pesaro Family
1519-1526
Luca Cranach the Elder
-two different sides, seperated by a tree in middle
-left side a skeleton prods a human to hell, while jesus is returning on the day of judgement
-Right side jesus pours out salvation on a sinner in the form of blood from him on the cross
Allegory of Law and Grace
1530
Grunewald
-Reflects catholic beliefs
-catholic symbols such as lamb spurting blood into chalice
-created for monastic hospital of Saint Anthony of Isenheim
-wooden shrine with saints anthony abbot, augustine, and jerome
-grunewalds two pairs of movable wings taht open at center
-center panel is crucefixion
-Saint sebastion on left
-saint anthony on right
-lamentation in predella
-other paintings are annunciation, angelic concert, madonna and child, and ressurection, meetings of saint anthony and saint paul, and temptation of saint anthony
-saints that have deseases and miraculous cures appear in altarpiece
-images served as warnings and also of hope if you repent
-bright color against soft tones
The Ishenheim Altarpiece
1510
Albrecht Durer
-two oil paintings
-presented to the city fathers of Nuremberg for the city hall
-saint john and saint peter on left panel
-saint mark and saint paul on right panel
-color and light and shade
-all four saints individual with portraitlike features
-shows durers support for marting luther and the protestant reformation by placing saint peter(representing pope in rome) behind John the Evangelist
-new testament quotations John 1:1
The Four Apostles
1526
Albrecht Durer
-represents durers first parting of his studies in vitruvian theory of human proportions
-idealized figures of adam and eve standing in classical poses
-idealization of naturalism, demonstrates his skill for making background foliage and animals
-choleric cat, melancholic elk, sanguine rabbit, and the phlegmatic ox represent humanities temperments based on four humors
The Fall of Man
1504
Bernini
-monumental colonnade-fframed piazza
-built to accomidate existing fountain and egyptian obelisk
-four rows of huge tuscan columns hold up both colonnades which terminate in classical temple fronts
-collonnades welcoming arms of the church
-vissually counteract natural perspective and bring the facade closer to the viewer
-built to aid in the counter reformation
Saint Peters Piazza, Rome
1667
Bernini
-canopy like structure
-marks high altar and tomb of saint peter
-columns create visual frame for throne of saint peter
-structures decorative elements show power of catholic church and pope urban VIII
-on the top four angels stand guard
-serpentine brackets, orb and cross
-bees for urban VIII family the barberini
-most of the brass work was contracted out to more experienced workers
-to get enough bronze Urban dismantled the portico of the pantheon
Baldacchino, Saint Peter's
1624-1633
bernini
-commisioned by pope alexander the VII
-trumpeting angels and papal arms crown
-looks elongated by making the columns closer together and the two piece barrel vaults
-illuminated landing provides a midway resting point
Scala Regia
1663-1666
Bernini
-portrays the combat itsself
-captures split moment of action
-legs widley planted and pivoting motion
-this kind of sculpture has to be viewed from all sides not stuck in a niche
David
1623
Bernini
-subject being stabbed by an angel in the heart with an arrow of divine love
-serves as the focus in the Cornoro Chapel
-Roman Church of Santa Maria della Vittoria
-family watches the deed from choice balconies
-different texture in clouds, rough monks cloth, gauzy material, smooth flesh, and feathery wings
-light comes from a hidden window and shines on golden rays of metal
The Ecstacy of Saint Teresa, Cornaro Chapel,
1648-1652
Fracesco Borromini
-facade has concave and convex on both levels
-emphasizes three dimensional effect with deeply recessed niches
-designed for fluid transition between inside and outside
-church has two facades(second faces intersection and is very small)
-variation of a centrally planned church
-mix between greek cross and oval
-columns and oval dome on inside
Facade and Interior of San Carlo Alle Quattro Fontane,
1638-1641
Caravaggio
-for cerasi chapel in Roman church of Santa Maria de Popolo.
-saint-to-be at moment of conversion
-used perspective and chiaroscuro to bring viewers as close as possible to scenes space and action, makes them feel as if they were there
-low horizon line
-designed for its position on wall
-sharply lit people emerge from a dark background as if they were being lit by a window in the chapel
-tenebrism
Conversion of Saint Paul
1601
Caravaggio
-ray of light illuminates world of darkness and bears a spiritual message
-painted for conterellis chapel
-setting is a tavern with unaddorned walls
-christ with halo pointing at saint mathew(levi the tax collector)
-had gesture similar to Gods hand in Creation of Adam
-Levis face illuminated by a beam of light like a religious calling
-points to himself in disbelief
-
Calling of Saint Mathew
1601
Artemisia Gentileschi
-uses tenebrism
-both women look strong and are very focused on their work
-carravaggio like because of dark subject matter
-Judith and her maidservant slaying holofernes, blood everywhere
-tension and strain in the people
-female painter
Judith Slaying Holofernes
1620
Annibale Carracci
-Ideal classical landscape, appears ordered by divine law and human reason, tranquil hills and fields, quietly gliding streams, serene skies, unruffled foliage, shepherds with their flocks
-pastoral scene and mood familiar in venetian tenaissance paintings
-sense of deep space by varying light and shadow
-streams and terraces zig zag through the terrain, leads viewers eye back to middle ground
-mary, christ child, and saint joseph
Flight into Egypt
1603-1604
Guido Reni
-innfluenced by carracci and raphael
-ceiling fresco in the Casino Rospigliosi in Rome
-aurora leads apollos chariot, while hours dance about it
-complex and convincing illusionistic frame
-source was from roman reliefs and coins depicting emperors in triumphal chariots
Aurora
1613
Fra Andrea Pozzo
-made for church of sant'ignazio in rome
-vast ceiling fresco
-created the illusion that heaven is opening up above the congregation
-painting and churches architecture blend together
-heaven and earth commingle as christ recieves saint ignatius
-disc in the nave marks the spot where the viewer should stand to gain the whole perspectival illusion
glorification of Saint Ignatius
1694
Deigo Velazquez
painting of painter painting
-has Infanta Margarita in foreground with her tow maids in waiting, her favorite dwarfs, and a large dog.
-middle ground there is a woman in widows attire and a male escort
-everyone in room is idenitfiable
-visual and narative complexity, and no one knows what its true interpretation is
-velazquez may be painting this very picture in the picture
-may be painting a portrait of king and queen
-prescence of the king and queen in the viewers space
-velazquez's attemp to enoble himself and his career, because he has no noble background
-velazquez is in equal dignity of the king
-portrayed realities of image on canvas, of mirror images, of optical images, and the two painted images
-mirror spaces , real spaces, picture spaces, and pictures within pictures
Las Meninas
1656
Peter Paul Rubens
-for the church of saint walburga in Antwerp
-reveals rubens interest in Italian art, like michelangelo and caravaggio
-body of christ on the cross as a diagonal that cuts accross the picture while inclining back into it
-emotion on christs face as well as faces of his followers
-stong modeling in dark and light heightens the drama
Elevation of the Cross
1610
Peter Paul Rubens
-personification of france(man with the fleur-de-lis) welcomes marie de' medici to france
-sea and sky rejoice at her arrival
-neptune and the Nereids salute her, winged trumpeting Fame overhead
Arrival of marie de medici at Marseilles
1625
Frans Hals
-group portrait
-group portraits were much harder than depicting a single sitter
-subject is one of the many dutch militia groups that claimed credit for liberating the dutch republic from spain
-represent each militia member adequately and retains action and variety in the composition
-some sitters engage the viewer and some look away or are talking to each other
-each person is individual even tough they all wear the same thing
Archers of Saint Hadrian
1633
Rembrandt
-members of the surgeons guild, who commisioned the piece, clustered together on the left side of the painting
-in the foreground is corpse which is shortened to fit, and dr tulp while he is dissecting
-each student depicted specifially even though their clothes are the same
-some are paying attetion very closely and some are just a little and then others are not paying attention at all
-
The Anatomy Lesson of Dr. Tulp
1632
Rembrandt
-dramatic lighting enhances image
-one of many civic-guard group portraits produced
-Captain Frans Banning Cocq and his lieutenant, willem van ruytenburch along with 16 members of their militia
-commisioned for assembly and banquet room of amsterdam's new musketteers hall
-was cropped when it was moved so it is not the full size
-captures excitement and frenetic energy of men getting ready for the parade
-company scurrying around in the act of organizing themselves
-managed to record the three most important steps of using a musket; loading, firing and readying it for reloading
The Night Watch
1642
Rembrandt
-christian art desired to interpret biblical narratives in human terms
-tenderly embraced by his forgiving father, the son crouches before him in weeping contrition, while three figures in the background watch
-light shines on the fathers face and on the son as well as on the face of the most forward nlooker
The Return of the Prodigal Son
1665
Aelbert Cuyp
-landscape is particularized
-church in background can be identified as the Grote Kerk in Dordrecht
-dairy cows, shepherds, and milkmaid refer to a cornerstone of Dutch Agriculture
-pristine rendering of each detail
Distant veiw of Dordrecht
1640's
Jacob van Ruisdael
-overarching view of harrlem
-saint bavo church in background
-numerous windmills that refer to the land reclamation efforts
-figures in the foreground stretching linen to be bleached(reflects the pride dutch painters took in recording their homeland
-inhabitants and dwellings are so minuscule that they blend into the land itself
-low horizon line, sky takes up almost 3/4 of the picture
-sun illuminates the land only in patches
-
Veiw of Harlem from the Dunes
1670
Jan Vermeer
-setting is a room of a well to do dutch families house
-woman playing lute interupted by serving lady to give her a letter
-letter is a love letter because lute was the instrument of love
-ship on a calm sea represents love requieted
-pictorial light is used to give the painting a feeling of depth and space
-used a camera obscura to help him to design a painting
-furniture in beutiful stability and quadralateral shapes
-colors are true to optical facts and manipulated so well they say vermeer was way ahead of his time
-shadows are not colorless and dark and he painted reflections off of other surfaces to give realism
has cirlcles of confusion
-
The Letter
1666
Jan Vermeer
-artist in painting himself
-painting a model wearing a loral wreath and holding a trumpet and a book.map of provinces is another reference to history
viewer is outside the space of action, looking through a drawn curtain
-light radiating from an unseen window illuminates the canvas eludes to artistic inspiration
Allegory of the Art of Painting
1675
Jan Steen
-very unorganized and unoderly, more how life would really be
-santa just came and some children are delighted and another is sad because he only got a birch rod
-allegorical and moralistic
-uses childrens activities as satyrical comments on foolish adult behavior, selfishness, pettiness and jealousy
The Feast of Saint Nicholas
1665
Pieter Claesz
-celebrates material possesion, represented as if strewn accross a table or dresser
-went against calvanist theory
-appreciation of beauty and value of objects
-also has a remider of the fragility of live and unavoidable death
-Momento mori
-references include skull, timepiece, tiped glass, and cracked walnut
-self portrait in reflection on ball
Vanitas Still Life
1630's
Italian for Holy Conversation; A style of altarpiece painting popular after the middle of the 15th century, in which saints form different epchs are joined in a unified space and seem to be conversing either with one another or with the audience
Sacra Conversazione
a term describing Poetic art, notably Venetian Renaissance painting, which emphasizes the lyrical and sensual
poesia
italian for colored or painted. a term used to descrive the application of paint, chracteristic of the work of 16th century venetian artists who emphasized the application of paint as an important element of creative process.
colorito
italian for drawing and design. renaissance artists considered drawing to be the external physical minifestation of an internal intellectual idea of design
disegno
having to do with rural life
pastoral
language of a certain area
vernacular
a wooden block on the surface of which those parts not intended to print are cut away to a slight depth, leaving the design raised, also the printed impression made with such a block
woodcut
the destruction of religious or sacred images. in byzantium, the period from 726 to 843 when there was an imperial ban on such images. the destroyers of images were known as iconoclasts.those who opposed such a ban were known as iconophiles.
iconoclasm
an artwork on paper usually produced in multiple impressions
print
the traditional blanket designationf for european art from 1600 to 1750
baroque period
art that features dramatic theatricality and elaborate ornamentation in contrast to the simplicity and orderly rationality of rennaissance art
baroque style
painting in the shadowy manner, using violent contrasts of light and dark, as in the work of caravaggio. the term derives from tenebroso
tenebrism
a ceiling design in which painted scenes are arranged in panels that resemble framed pictures transferred to the surface of a shallow, curved vault
quadra reportato
the theological system of John Calvin and his followers emphasizing omnipotence of God and salvation by grace alone
calvanism
a portrait of a group of people
group portrait