Art History Test 1

Front 1

Ambrogio Lorenzetti, The Effects of Good Government

Back 1

Frescoes, Palazzo Pubblico, Sienna, 1338-1339

Front 2

Giotto, Bardi Chappel

Back 2

Frescos, Santa Croce, Florence (Franciscan Church), 1360s

Front 3

Bernardo Rossellino, Tomb of Leonardo Bruni

Back 3

Santa Croce, Florence (Franciscan Church), c 1444-47

Front 4

Lorenzo Ghiberti, Abraham and Isaac competition bronze panel

Back 4

Florence Baptistry north doors, 1401

Front 5

Lorenzo Ghiberti, St. Matthew

Back 5

Statuefor the façade of Or San Michele, Florence, 1419-1423

Front 6

Filippo Brunelleschi, Abraham and Isaac competition bronze panel

Back 6

Florence Baptistrynorth doors, 1401

Front 7

FilippoBrunelleschi, Duomo

Back 7

Florence Cathedral, 1420-1436, (herringbonebrickwork, double shell)

Front 8

FilippoBrunelleschi, Ospedale degli Innocenti

Back 8

first phase, 1419-1427

Front 9

Masaccio, Holy Trinity

Back 9

Santa Maria Novella,Florence, 1424-27

Front 10

Fra Angelico, Annunciation

Back 10

Frescos, San Marco, Florence, 1438-1447

Front 11

Fra Angelico, Noli meTangere

Back 11

Frescos, San Marco, Florence, 1438-1447

Front 12

Fra Angelico, Crucifixion

Back 12

Frescos, San Marco, Florence, 1438-1447

Front 13

Fra Angelico, Adorationof the Magi

Back 13

Frescos, San Marco, Florence, 1438-1447

Front 14

Cosimo de’ Medici’s, private cell

Back 14

(#38) in San Marco

Front 15

SandroBotticelli, Adoration of the Magi

Back 15

1474-75

Front 16

Sandro Botticelli, Portrait of a Man with a Medal of Cosimo theElder

Back 16

1474-75

Front 17

Sandro Botticelli, Primavera

Back 17

1477-82

Front 18

Sandro Botticelli, The Birth of Venus

Back 18

1482-86

Front 19

Donatello, Saint George

Back 19

Statue for the façadeof Or San Michele, Florence, 1415-1418

Front 20

Donatello, David

Back 20

c.1440-60

Front 21

Donatello, Judith and Holofernes

Back 21

1455-60

Front 22

Donatello, Harrowing of Hell

Back 22

Bronze pulpit, 1466

Front 23

Andrea Del Verrocchio, David

Back 23

1475-76

Front 24

Michelozzo di Bartolomeo, PalazzoMedici Riccardi

Back 24

1444-1484

Front 25

Old Medieval worldview

Back 25

Feudal Society divided into three distinct tiers:

•Aristocracy at the top

•The Church in the middle

•The laboring classes, the peasantry, at the bottom

Front 26

The role of bankers and merchants / Medici family

Back 26

Thefamily ruled Florence, Italy with their wealth. They got rich from loans that charged interest.

Front 27

The Black Death of the 1350s as a springboardfor economic growth and cultural touchstone

Back 27

•The economic consequences of the Black Death are trade declination and a rise in the price of labor because of the lack of workers. With less people, the demand food went down, lowering prices.Landlords paid more for labor but their income for rent declined. This freed peasants from serfdom.

•Created new opportunities

•Bankers and textile merchants were expanding their trading empires all over Europe

•Bankers, such as the Medici, begin to curry favor with the Papacy, which needs infusions of money to stay afloat

Front 28

Renaissance

Back 28

• a period, roughly 1450-1600, of innovations on the part of artists and architects, of excitement in rediscovering the achievements of the Classical world (ancient Greece and Rome), funded and sponsored by the patronage of a wealthy commercial classThe Renaissance: literally a “rebirth” of learning and culture, and most importantly, a union of Classical ideals and Christian values

• the transitional movement in Europe between medieval and modern times beginning in the 14th century in Italy, lasting into the 17th century, and marked by a humanistic revival of classical influence expressed in a flowering of the arts and literature and by the beginnings of modern science

Front 29

Humanism

Back 29

Were students of the classics, of the knowledge and the wisdom of the ancient world. They went right back to the origins of Western thought in the great Greek philosophers.

Humanism is a philosophical stance that emphasizes the value and agency of human beings, individually and collectively. Humanists prefer critical thinking and evidence(rationalism and empiricism) over acceptance of dogma or superstition.

Front 30

Antiquity

Back 30

is the period of cultural history between the 8th century BC and the 6th century AD centered on the Mediterranean Sea,[note 1] comprising the interlocking civilizations of ancient Greece and ancient Rome known as the Greco-Roman world. It is the period in which both Greek and Roman societies flourished and wielded great influence throughout much of Europe, Northern Africa, and West Asia.

The humanists recovered and translated the texts of antiquity

Front 31

Florentine Guilds

Back 31

Represented craftsmen and the professions, like unions today: sculptors and stoneworkers, textile workers, metal workers, masons, builders, and lawyers—all had their own guilds. Competition between the guilds, and the artists who belonged to them, helped to drive artistic innovation.

The guilds of Florence were secular corporations that controlled the arts and trades in Florence from the twelfth into the sixteenth century. These included seven major guilds, five middle guilds and nine minor guilds.

Front 32

Fresco painting

Back 32

Frescois a technique of mural painting executed upon freshly laid lime plaster. Wateris used as the vehicle for the dry-powder pigment to merge with the plaster,and with the setting of the plaster, the painting becomes an integral part ofthe wall.

Front 33

Tempera versus Oil painting

Back 33

Temperais a color bound by a sticky binder or by egg yolk. In the European traditionit is opposed to oil painting, with its lower, dimmed and less shiny nature.

Front 34

Linear Perspective

Back 34

Linear perspective, asystem of creating an illusion of depth on a flat surface. All parallel lines(orthogonals) in a painting or drawing using this system converge in a singlevanishing point on the composition's horizon line.

Front 35

Limbourg brothers, Très Riches Heures

Back 35

1413-1416

Front 36

Claus Sluter, Well of Moses

Back 36

Chartreuse de Champmol, Dijon, France, 1396-1406

Front 37

Claus Sluter, Funeral Monument for Philip the Bold

Back 37

Duke of Burgundy, 1414

Front 38

Robert Campin (Master of Flémalle), Merode Altarpiece

Back 38

1425-1428

Front 39

Jan van Eyck, Giovanni Arnolfini and His Wife

Back 39

1434

Front 40

Jan van Eyck, Man in a Red Turban

Back 40

1433

Front 41

Jan van Eyck, The Rolin Madonna

Back 41

1435

Front 42

Hôtel-Dieu de Beaune, foundedby Nicolas Rolin

Back 42

1443, Chancellor of Burgundy, depicted by van Eyck in theRolin Madonna

Front 43

Roger van der Weyden, The Last Judgement

Back 43

Hôtel-Dieu de Beaune, 1425-1442

Front 44

Hieronymus Bosch, The Garden of Earthly Delights

Back 44

insideright panel: Hell, 1490-151

Front 45

Albrect Durer, The Apocalypse (Revelations of St. John)

Back 45

15 woodblock prints, First edition in1498, second edition in 1511

Front 46

Albrect Durer, Self-Portrait, 1493

Back 46

1493

Front 47

Albrect Durer, Self-Portrait, 1506

Back 47

1506

Front 48

Albrect Durer, Nature Watercolors

Back 48

1502-1506

Front 49

Albrect Durer, Knight, Death, and the Devil

Back 49

engraving, 1513

Front 50

Albrect Durer, St.Jerome in His Study

Back 50

engraving,1514

Front 51

Albrect Durer, Melancholia

Back 51

engraving, 1514

Front 52

Mathias Grunewald, Ishelheim Altar

Back 52

1515, Antonie monastery that specialized in thecare of skin diseases (“the ultimate painting in Christian Art”)

Front 53

Late medieval courts of France (Bruges, Brussels, Burgundy)

Back 53

The art of Northern Europe grew from there.

Front 54

Nuremburg

Back 54

Nazi's stole artwork there? Nuremberg Chronicle = history of world. The Nuremberg Chronicle is an illustrated encyclopedia consisting of world historical accounts, as well as accounts told through biblical paraphrase.

Front 55

Oil paint

Back 55

During the 15th century, Jan van Eyck, a famous Belgian painter developed oil painting by mixing linseed oil and oil from nuts with diverse colors.

Front 56

Printmaking

Back 56

Woodcut, a type of relief print, is the earliest printmaking technique, and the only one traditionally used in the Far East. It was probably first developed as a means of printing patterns on cloth, and by the 5th century was used in China for printing text and images on paper. Woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text.

Front 57

Woodcuts versus Engravings

Back 57

In a woodcut print, a piece of wood is cut along the grain (if you visualize a plank of wood or wooden flooring, the broad side is here the artist would carve) to produce an image. When printed, the carved out areas remain white and the remaining area receives the ink.

Wood engraving, on the other hand, is a much newer process.Instead of carving along the grain, the artist cuts into the end of the block of wood. This can make wood engraving blocks very expensive, as to get a large plate one needs a section of unblemished wood from a large hardwood tree trunk or branch. However, wood engravings allow for much greater detail than a traditional woodcut.

Front 58

Book of Hours

Back 58

The Book of Hours was a prayer book for the laity that developed in late medieval Europe and that was used for private devotion. These works were often personalized for individual patrons and illuminated with miniature paintings depicting the life of Christ, the Virgin Mary, and individual saints.

Front 59

Donor Portraits

Back 59

A donor portrait or votive portrait is a portrait in a larger painting or other work showing the person who commissioned and paid for the image, or a member of his, or her, family.

Front 60

Altarpieces

Back 60

An altarpiece is an artwork such as a painting, sculpture or relief representing a religious subject made for placing behind the altar of a Christian church.

Front 61

Raphael, Transfiguration

Back 61

1520

Front 62

Raphael, Philosophy (School of Athens)

Back 62

1509-1511

Front 63

Raphael, Theology (Disputa)

Back 63

1509-1511

Front 64

Raphael, Justice and Literature

Back 64

1509-1511

Front 65

Raphael, Loggia di Psiche in the Villa Farnesina

Back 65

1517-18

Front 66

Leonardo da Vinci, Last Supper

Back 66

ca. 1495-1498

Front 67

Leonardo da Vinci, The Virgin and St. Anne

Back 67

1507

Front 68

Leonardo da Vinci, anatomical, technical, scientific drawings

Back 68

Multiple years.

Front 69

Michelangelo, David

Back 69

1501-1504

Front 70

Michelangelo, Tomb of Julius II

Back 70

1505-1545, including the Moses

Front 71

Michelangelo, Sistine Chapel Ceiling

Back 71

Vatican City, Rome, 1508-1512

Front 72

Michelangelo, The Last Judgement

Back 72

Sistine Chapel,altar wall, fresco, 1534-1541

Front 73

Michelangelo, Capitoline Hill

Back 73

1536

Front 74

Michelangelo, Rondanini Pieta

Back 74

1552-1564

Front 75

Jacapo Sansovino, Loggetta

Back 75

1538-1546

Front 76

Titian, Venus of Urbino

Back 76

1534

Front 77

Titian, Venus and Cupid

Back 77

1550

Front 78

Titian, Assumption of the Virgin

Back 78

in the Frari Church, Venice, 1516-1518

Front 79

Titian, Madonna of the Pesaro Family

Back 79

1519-1526

Front 80

Tintoretto, The Last Supper

Back 80

San Giogio Maggiore, 1592-1594

Front 81

Palladio Il, Rendentore

Back 81

1577-1592

Front 82

Palladio, Villa Barbaro at Maser

Back 82

1560-1570, the "Nymphaeum"

Front 83

Veronese, Frescos in the Villa Barbaro at Maser

Back 83

1560-61

Front 84

Veronese, The Last Supper (Feast in the House of Levi)

Back 84

1573

Front 85

Giorgio Vasari’s Lives of the Artists

Back 85

The central body of work related to Vasari is a series of biographies of Italian painters and sculptors titled Lives of the Artists. Vasari worked on the text for several decades, building up a sourcebook of artists’ careers from three centuries of recent history. It was the first time anybody had attempted to write a systematic history of art, complete with a theoretical framework for how art was thought to have developed.

Front 86

The changing status of the artist

Back 86

One of the things that distinguishes artists of the High Renaissance from those who came before them is we find them compared with princes. We find not only their works, but also their private lives the subject of historical accounts and literature.

Front 87

The heroic ambition of the artist

Back 87

Leonardo has the ambition to developing new methods for wall painting that turns out to be catastrophic.The painting began to decay as soon as it was finished. As Kathleen Weil-Garris Brandt says, this was a major characteristic of High Renaissance artists. These “heroic enterprises” of vast scale and ambition that could be realized only in part, in fragments, because they were either beyond the scale of actual human achievement, or because the technologies to make them did not yet exist. “The ambitious scale of the project itself doomed it eventually to incompletion, reduction, or transformation.

Front 88

Pope Julius II

Back 88

Terribilita: A word also used to describe Pope Julius II. This artist and Pope met their match in each other.

Front 89

The Sack of Rome, 1527

Back 89

In 1527, Italy was invaded by an imperial (the Holy Roman Empire) army from the North, and Rome was sacked. Many artists flee north, some to Florence, others to Venice. In 1534, as Rome is in the process of rebuilding after the sack, Michelangelo, who had fled to Florence, returns to the Sistine Chapel to paint the Last Judgement on the wall above the altar. His version of The Last Judgement, in its savagery, it’s gloom, it’s pessimism, is a response to the 1527 sacking of Rome and the changes atmosphere in the city.

Front 90

Difference between Venetian and Central Italian painting

Back 90

A fundamental difference of technique separated Venetian artists from those of Central Italy. ... Venetian masters perfected new resins that allowed them to paint on canvas rather than panels, an innovation that gave their coloristic techniques greater depth and luminosity.

Front 91

Sfumato

Back 91

Sfumato is a painting technique for softening the transition between colours, mimicking an area beyond what the human eye is focusing on, or the out-of-focus plane.

Front 92

Terribilita

Back 92

Terribilità, the spelling in modern Italian, or terribiltà, as Michelangelo's 16th century contemporaries tended to spell it, is a quality of provoking terror, awe, or a sense of the sublime, in the viewer, that is ascribed to his art.

Front 93

Designo

Back 93

From the Italian word for drawing or design, carries a more complex meaning in art, involving both the ability to make the drawing and the intellectual capacity to invent the design.

Front 94

Colorito

Back 94

Is a term usually applied to 16th-century Venetian painting in which colour is employed in a dominant manner, for sensual expressive purposes and as an important compositional element.

Front 95

Serrenissima

Back 95

? The Most Serene, when it was a large trading empire. The term was used to acknowledge Venice as a sovereign state along with other Maritime Republics in the same region.

Front 96

poesie

Back 96

Term used in the art theory of the Italian Renaissance for a work inspired by the myths, fables and legends related by ancient authors such as Ovid, Virgil and Apuleius. It may be contrasted with an Istoria, a picture based on a historical subject.

Front 97

Mannerism

Back 97

The term comes from the Italian “maniera,” which means “manner” or “style.”

•The term can sometimes have a pejorative meaning: something that is too stylish, or too elegant, can seem affected, or artificial.

•In fact, Mannerist artists were interested to further explore the boundaries between natural and artificial that earlier Renaissance artists had begun.

•There’s something self-conscious about these works, and that’s OK, it’s what makes them interesting.

•Beginning around 1520, in his designs for the Medici Chapel, Michelangelo himself would move away from his own earlier conception of the perfect human body (e.g. David), to achieve a super-stylized, impossibly elegant, and unnatural ideal of beauty in his sculptures.

Front 98

Maneria

Back 98

(Italian: “manner,” “style”) in art criticism, certain stylistic characteristics, primarily in Mannerist painting (see Mannerism). In the 14th and 15th centuries, manière in France and maniera in Italy designated refined, courtly manners and sophisticated bearing.

Front 99

Volterra

Back 99

“Volterra is the most northerly of the great Etruscan cities of the west. It lies back some thirty miles from the sea, on a towering great bluff of rock that gets all the winds and sees all the world, looking out down the valley of the Cecina to the sea, south over vale and high land to the tips of Elba, north to the imminent mountains of Carrara, inward over the wide hills of the Pre-Apennines, to the heart of Tuscany.You leave the Rome-Pisa train at Cecina, and slowly wind up the valley of the stream of that name, a green, romantic, forgotten sort of valley, in spite ofthe come-and-go of ancient Etruscans and Romans, medieval Volterransand Pisans, and modern traffic. But the traffic is not heavy. Volterra is a sort of inland island, still curiously isolated and grim.”

--D.H. Lawrence, “Volterra,” Etruscan Places, 1932

Front 100

D. H. Lawrence, Etruscan Places (1932)

Back 100

Sketches of Etruscan Places and other Italian Essays, or Etruscan Places, is a collection of travel writings by D. H. Lawrence, first published posthumously in 1932. In this book Lawrence contrasted the life affirming world of the Etruscans with the shabbiness of Benito Mussolini's Italy during the late 1920s.

Front 101

Pier Paolo Pasolini, La Ricotta (1962)

Back 101

La ricotta ("The Ricotta", a curd cheese) is a short film written and directed by Pier Paolo Pasolini in 1962 and is part of the omnibus film Ro.Go.Pa.G. It is often considered the most memorable portion of Ro.Go.Pa.G and the height of Pasolini's creative powers and social criticism.

Front 102

Michelangelo, drawing of dead Christ

Back 102

Michelangelo`s emotive drawing in black chalk of the Virgin and onlookers lamenting the dead body of Christ was of such fame in the nineteenth century as to be known as the `Warwick Pietà` after the Earl of Warwick to whom the sheet belonged until acquired by the BM in 1896.

Front 103

Aristotele da Sangallo’s copy of Michelangelo’s Battle of Cascina

Back 103

The cartoon was copied by several artists, the most notable extant copy being by Michelangelo's pupil Sangallo. Some of Michelangelo's preparatory drawings also survive, along with prints of part of the scene by Marcantonio Raimondi. According to Michelangelo's biographer Giorgio Vasari, the original cartoon was deliberately destroyed by Michelangelo's rival Bartolommeo Bandinelli because he was jealous of its fame; this occurred in 1512 upon the return of the Medici.

Front 104

Jacopo Sansovino, wax and wood model of the Deposition

Back 104

1511

Front 105

Rubens’ copy of Leonardo’s The Battle of Anghiari

Back 105

1603

Front 106

Andrea del Sarto, Pietà, engraving by Agostino veneziano

Back 106

1516

Front 107

Andrea del Sarto, Madonna of the Harpies

Back 107

1517, Accademia Gallery, Florence

Front 108

Rosso Fiorentino, Descent from the Cross

Back 108

1521, Volterra

Front 109

Rosso Fiorentino, Marriage of the Virgin

Back 109

1523, San Lorenzo, Florence

Front 110

Rosso Fiorentino, Moses Defending the Daughters of Jethro

Back 110

1523, Uffizi Gallery, Florence

Front 111

Rosso Fiorentino, Mars and Venus

Back 111

presentation Drawing, 1530

Front 112

Jacopo Pontormo, Deposition

Back 112

1525-158, Capponi Chapel, Church of Santa Felicità, Florence

Front 113

Jacopo Pontormo, Christ Before Pilate

Back 113

fresco, Certosa di Firenze, 1523-25

Front 114

Agnolo Bronzino, Deposition of Christ

Back 114

Musée des Beaux-Arts et d'Archéologie, Besançon, 1545

Front 115

Agnolo Bronzino, Portrait of a Young Man

Back 115

circa 1540

Front 116

Agnolo Bronzino, Cosimo I de' Medici in Armour

Back 116

1545

Front 117

Agnolo Bronzino, Leonora of Toledo with her son Giovanni de' Medici

Back 117

1545

Front 118

Farnese Hercules

Back 118

The Farnese Hercules is an ancient statue of Hercules, probably an enlarged copy made in the early third century AD and signed by Glykon, who is otherwise unknown; the name is Greek but he may have worked in Rome.

Front 119

Baths of Caracalla

Back 119

The Baths of Caracalla in Rome, Italy, were the city's second largest Roman public baths, or thermae, likely built between AD 212 and 216/217, during the reigns of emperors Septimius Severus and Caracalla. They were in operation until the 530s and then fell into disuse and ruin.

Front 120

Palazzo Farnese

Back 120

Palazzo Farnese or Farnese Palace is one of the most important High Renaissance palaces in Rome. Owned by the Italian Republic, it was given to the French government in 1936 for a period of 99 years, and currently serves as the French embassy in Italy.

Front 121

Cardinal Alessandro Farnese (grandson of Pope Paul III)

Back 121

Alessandro Farnese, an Italian cardinal and diplomat and a great collector and patron of the arts, was the grandson of Pope Paul III, and the son of Pier Luigi Farnese, Duke of Parma, who was murdered in 1547.

Front 122

Cardinal Odoardo Farnese

Back 122

Odoardo Farnese was an Italian nobleman, the second son of Alessandro Farnese, Duke of Parma and Maria of Portugal, known for his patronage of the arts. He became a Cardinal of the Roman Catholic Church in 1591, and briefly acted as regent of the Duchy of Parma and Piacenza for his nephew Odoardo from 1622 to 1626.

Front 123

Fulvio Orsini

Back 123

Fulvio Orsini (11 December 1529 – 18 May 1600) was an Italian humanist, historian, and archaeologist. He was a descendant of the Orsini family, one of the oldest, most illustrious, and for centuries most powerful of the Roman princely families, whose origins, when stripped of legend, can be traced back to a certain Ursus de Paro, recorded at Rome in 998.

Front 124

Quadri Riportati

Back 124

Quadro riportato is the Italian phrase for "carried picture" or "transported paintings". It is used in art to describe gold-framed easel paintings or framed paintings that are seen in a normal perspective and painted into a fresco.

Front 125

Claude, Landscape with Narcissus and Echo

Back 125

1644

Front 126

Poussin, Landscape with Diogenes

Back 126

1648

Front 127

Annibale Carracci (1560-1609), Bean Eater

Back 127

Rome, Galleria Colonna, c. 1595

Front 128

Annibale Carracci (1560-1609), Camerino Farnese

Back 128

1595-1597

Front 129

Annibale Carracci (1560-1609), The Choice of Hercules

Back 129

1596, Capodimonte, Naples

Front 130

Annibale Carracci (1560-1609), Loves of the Gods

Back 130

Farnese Gallery, Rome, 1597-1604

Front 131

Annibale Carracci (1560-1609), Self-Portrait as a Self-Portrait

Back 131

Hermitage, St. Petersburg, c. 1600

Front 132

Annibale Carracci (1560-1609), Flight into Egypt

Back 132

1604, Doria-Pamphili, Rome