Reading...
Play button
Play button
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;
13 Cards in this Set
- Front
- Back
|
MICHELANGELO BUONARROTI, plan for Saint Peter’s, Vatican City, Rome, Italy, 1546 Patron: Pope Paul III (but Michelangelo worked for no pay) Compact domed Greek cross within square. Michelangelo worked for no pay and considered himself a sculptor.
|
|
|
TITIAN, Madonna of the Pesaro Family, Santa Maria dei Frari, Venice, Italy, 1519–1526. Oil on canvas, approx. 16’ x 9’ Patron: Jacopo Pesaro, Bishop of Paphos, Cyprus Commissioned in gratitude for victory of Venetians over Turks in Venetian-Turkish war. Approach from the left; painting oriented toward actual position of worshipper Dramatic diagonal composition, with perspective also oriented on diagonal. Boy directly engages viewer through eye contact
|
|
|
PARMIGIANINO, Madonna with the Long Neck, ca. 1535. Oil on wood. Style predominated in Italy after the Sack of Rome, 1527 Exaggeration of proportions to enhance evidence of artistic style Here, emphasis upon female beauty and visual “rhymes” (Virgin’s neck: ivory tower).
|
|
|
MATTHIAS GRÜNEWALD, Isenheim Altarpiece (closed), Crucifixion (center panel), from the chapel of the Hospital of Saint Anthony, Isenheim, Germany, ca. 1510–1515. Oil on panel. Crucified Christ with Mary, St John the Beloved, St. Mary Magdalen, St. John the Baptist, and the emblem “Lamb of God” Patronage: monastic order of St. Anthony of Isenheim (for their hospital chapel). Deliberate ugliness, even grotesqueness
|
|
|
ALBRECHT DÜRER (German), The Fall of Man (Adam and Eve), 1504. Engraving. Engraving: multiples produced from copper plate incised with burin and inked Iconography: Adam and Eve with animals representing the “four humors”: elk (melancholic); cat (choleric); rabbit (sanguine); ox (phlegmatic): the beginnings of “human psychology” Human figures: classical precedents (Dürer had travelled in Italy) Naturalism + classicism
|
|
|
HANS HOLBEIN THE YOUNGER, The French Ambassadors, 1533. Oil and tempera on panel. Artist: Hans Holbein the Younger: from Basel but worked in England in court of King Henry VIII. Still life objects: emblems of worldly and heavenly realms Anamorphic image of skull: reminder of human mortality. “Celestial” instruments- Alternative way of presenting
message about spiritual concerns: eloquence of material objects |
|
|
PIETER BRUEGEL THE ELDER, Hunters in the Snow, 1565. Oil on panel. “January” from series of six depicting the seasons, made for banker Nicholas Jonghelinck The “Four Elements”: Earth, Air, Fire, Water Topographical view, related to Flemish map-making and geography
|
|
|
EL GRECO, The Burial of Count Orgaz, Santo Tomé, Toledo, Spain, 1586. Oil on canvas, approx. 16’ x 12’ Medieval Count is laid in tomb as if on altar below painting Venetian influence: engagement of spectator’s space Pictorial interest in relationship between the material (action below) and the spiritual (action above). El Greco exploits Venetian device of appealing to spectator, but also creates more “mystical” Christian scene through Mannerist style
|
|
|
CARAVAGGIO, Calling of Saint Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome, Italy, 1599–1601. Oil on canvas. Artistic appropriation of gesture to create a new pictorial narrative
|
|
|
GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1652. Marble. Iconography: Vision of St. Teresa. Bernini’s theatrical architectural device: a skylight in the ceiling over the sculptural group, to allow natural light to stream down over the gilded bronze rays. Worshipper experiences ecstatic union with God vicariously, as with followers of charismatic saints
|
|
|
GIOVANNI BATTISTA GAULLI (Baciccio), Triumph of the Name of Jesus, ceiling fresco with stucco figures in the vault of the Church of Il Gesù, Rome, Italy, 1676–1679; patron: Jesuit order. Use of fresco on plaster placed over actual vaulted architecture of church to create illusion of figures flying, floating, and tumbling through space Iconography: “adoration of the name of Jesus” (IHS), with the damned tumbling down to hell. Figures ‘tumble down” into our space below
|
|
|
DIEGO VELÁZQUEZ, Las Meninas (The Maids of Honor), 1656. Oil on canvas. Patron: Philip IV, for his private rooms in the Alcazar Palace. The five-year-old Spanish princess Margarita with her lady-in-waiting. Mirror reflection, back wall: King Philip IV and Queen Mariana of Austria
|
|
|
RUBENS, Allegory of the Outbreak of War, 1638. Oil on canvas. Patron: Grand Duke Ferdinand de Medici Iconography: Venus Trying to Restrain Mars from Going into Battle (see Rubens’s letter to Justus Sustermans, explaining iconography). Details: Venus and Mars; the Fury Electo
Note Rubens’s rich use of color, inspired by Titian |
