Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
23 Cards in this Set
- Front
- Back
|
Cimabue, Madonna Enthronedwith Angels & Prophets, 1280-90. -more grounded 3D depiction -gives Mary weight, texture of clothing -treating them as humans, move away from illusionistic Byzantine icons -forefather of the Renaissance |
|
|
Giotto, Madonna Enthroned, 1310. -father of Renaissance -break with Gothic style -foreshortening and overlapping create sense of depth and shape -depth/realism > showing every face -still immaterial background and hierarchy of scale |
|
|
Giotto, Arena Chapel, Padua, 1305. -commissioned by Scroveni family to attone for usury -frescoe: mixing pigment w/ plaster --> wall -once dried, only removed by chipping -blue heaven as sky, faux marble inlay frames stories -builds narrative in sequential order |
|
|
Giotto, Lamentation, Arena Chapel, Padua, 1305.
-diversity of expression, new depiction of grief -setting echoes sentiment and arrows to Christ -attention to drapery - moves with bodies -bodies turned around frame focus, invite audience in -attention to detail and humanism |
|
|
Vesperbild (Pieta), c. 1330.
-inconsistencies in proportions - abstracting from the body -very gruesome, not sanitized -bloody, graphic, draws attention to mortality |
|
|
Virgin and Child, c. 1324-39. -Romanesque ideal figure w/ elegant drapery -Jesus touches Mary's face - sweet familial feel -Fleur-de-lis of France houses strands of Mary's hari |
|
|
Limbourg Brothers,February, from Les TrèsRiches Heures du Ducde Berry, 1411-6. -finest Netherlandish painters -Very Sumptuous Book of Hours -peasants portrayed as happily at work for aristocrats -Zodiac signs and calendar above |
|
|
Jan van Eyck, Ghent Altarpiece (closed), Saint Bavo Cathedral, Belgium, 1432.
-donors portrayed on front -somber scene of Annunciation -prophets on top predict coming of Christ |
|
|
Jan van Eyck, Ghent Altarpiece (open), Saint Bavo Cathedral, Belgium, 1432.
-rich in color vs. muted closed doors -separate spaces on top point to God vs. unified space on bottom point to lamb |
|
|
Workshop of the Master of Flemalle, Merode Altarpiece (open), 1425-30s. -typical trifold altarpiece style -annunciation, donor appears on left -picture as window -vanishing point |
|
|
Jan van Eyck, Double Portrait of Giovanni Arnolfini and his Wife, 1434. -mysterious - is she pregnant? who? -artist signed the piece -dog shows wealth, accessories show religion -mirror shows us figures in background |
|
|
Jan van Eyck, Man in aRed Turban, 1433. -self portrait -incredibly detailed -eyes look right at us - use of mirror? |
|
|
Lorenzo Ghiberti, Sacrifice of Isaac,1401-2. -contest for doors of Babtistery -just an art student but beats Brunelleschi spends next 25 years on doors -bronze, uses quatrafoil frame |
|
|
Donatello, St. Mark,Orsanmichele, Florence, 1411-3. -Classical style emphasizing the body -big beefy hands -standing on pillow - s/o to pillowmakers guild -very sincere |
|
|
Nanni di Banco, Four Crowned Saints, Orsanmichele, Florence, 1409-17. -for Roman sculptors killed for not making idols -figures in the round -sacrifice personal connection for heightened tension |
|
|
Donatello,David,c. 1446-60 (?) -prepubescent David -sexually provocative, used for privater residence in Medici household -Greek ideal of celebrating beautiful bodies |
|
|
Masaccio, Tribute Money, Brancacci Chapel, Florence, 1427. -more working class church, thus labors to portray story to literate audience -atmospheric + linear perspective -halos float on space, not flat |
|
|
Masaccio, Expulsion of Adam & Eve,Brancacci Chapel, Florence, c. 1427. -tensed, anguished physical bodies -voice of God shouts after them -grief, no idealization -Eve based off classical sculpture |
|
|
Sandro Botticelli, Birth of Venus, circa 1482. -resists illusionist painting as a window -idealizes the forms - weightlessness -mythological subject, not Christian |
|
|
Leonardo da Vinci, Virgin ofthe Rocks, c. 1485. -imagined space with realistic features -still separated from figures by chasm -humble Mary sits on ground -baby models |
|
|
Leonardo da Vinci, Last Supper, 1495-8. -put in refectory of monastery - extension of room -experimented with technique, hasn't held up well -geometric balance with Jesus as pyramidal base -calm, stable focus in midst of turmoil |
|
|
Leonardo da Vinci,Mona Lisa, 1503-06. -sitter unknown -ambiguous emotions because eyes and mouth are indistinct w/ covered glaze -move away from symbolic portraits - dress is timeless w/ little detail, abstract background, turned towards us no profile |
|
|
Michelangelo, David, 1501-4. -idealized, Classical David but with distorted face -poised in tension looking at implied Goliath - |
