Art Hum Midterm

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Phidias - Athena Parthenos (Virgin)
- model of the lost chryselephantine (gold & ivory) statue

* approximately 38’ tall

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The Golden Section (ratio)
– first written about by Euclid in The Elements (300 BCE)
-resembles natural spirals in growth of shells
-constant relationship by growing
* sides of squares in Fibonacci sequence

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Reconstruction Drawing of the Acropolis
- Athens, Greece

* from west

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Iktinos & Kallikrates - Floor Plan of the Parthenon, Temple of Athena Parthenos
447-432 BCE

* Doric order- recognizable building format that can be easily recreated
-Ionic capitals

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Exaggeration of the swelling of the stylobate on the Parthenon
447-432 BCE

* theories of refinements: compensation( for us to optically see) exaggeration, tension
* columns (doric) meet 4500 m above

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Erectheion, Acropolis

* ionic columns

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Metope: Lapiths versus the Centaurs
-sense of superiority over barbariansim.
-bassrelief

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Parthenon Frieze: Horsemen marshal procession (West) and in procession (North)

* horses - good notion of anatomy, motion

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Parthenon Frieze: Sacrificial animals and Unmounted Horsemen (North)

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Parthenon Frieze: Maidens with incense and sacrificial vessels (North)

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Maidens bringing peplos (worn by gods) to chief priest: seated deities (Athena and Hephasitos) (East)

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Reconstructions of Eastern and Western Pediment

* originally painted

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West pediment: Ilissos, river God of Athens

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East Pediment: Hestia, Dione, and Aphrodite
-drapery

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Kallikrates - Temple of Athena Nike, Acropolis, Athens

* ionic columns

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Nike Adjusting her Sandal, from south side of the parapet of the Temple of Athena Nike, Acropolis
-seemingly normal activity done by god

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Polykleitos - Doryphoros (Spear Bearer)
- Roman marble copy from Pompeii, Italy after a bronze original

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Kouros
- marble

* 6’1/2” high

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Praxiteles - Hermes and Infant Dionysos
- marble

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Lysippos - Apoxyomenos (The Scraper)
- marble, original bronze

* enhanced engagement with the viewer

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Pantheon
447-432 BCE

* spherical dome w/ opening (occulus) in the center - connection to the gods (houses ALL the gods)
* concrete

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Manuscript Illumination: Celestial City from The Trinity Apocalypse

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Giotto - Lamentation
- fresco
* renaissance - Christ as human, emotions
-paints jesus as normal person
-went back to greek style like humans are on level w/ gods

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Masaccio - Tribute Money
- fresco
* vanishing point - Christ's head
* contrapposto movement
* engagement with light (corresponding to the real source of light)
-atmospheric perspective- colors get more saturated and fuzzy as they get farther back, like mountains.

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Masaccio - Trinity
- Fresco

* the space can be worked out backwards from the depiction
* dove holy spirit

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Leonardo - Virgin of the Rocks
- oil on panel

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Leonardo - Virgin and Saint Anne
- cartoon

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Leonardo - The Last Supper
- Fresco (not true - on dry wall)
-table is horizon line
* vanishing point - Christ's head
ceiling = orthagonals
* references to number 3 (trinity)
* Judas reaching for bread at the same time as Jesus; holding a bag (silver?); tips over salt shaker, only disciple in darkness
-behind jesus is door because he is the door

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Raphael - Marriage of the Virgin
- oil on panel
- status of the artist as intellectually recognizable figure.
-head positions make you look at what is going on
-guy on right is mad, breaks his stick because it didnt bloom

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Raphael - Madonna of the Meadow
- oil on panel

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Raphael - Madonna of the Goldfinch
- oil on panel

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Raphael - Sistine Madonna
- oil on canvas

* no sense of earthly space, no landscape, no procession into depth; the Virgin is separated from the material world
* Pope Sixtus II and St. Barbara
* altarpiece (not for private collection)
* interaction with viewer, Raphael - "choreographer"

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Raphael - Maddalena Strozzi Doni
- oil on panel

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Leonardo - Mona Lisa
- oil on panel
-Spettsatura - being humble about your background
-Leonardo was not religious
-uneven landscape makes her face pull up and get dragged down making her left side look like she is almost smiling
-created Sfumato- smoking colors together

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Piero della Francesca - Duke and Duchess of Urbino (Battista Sforza and Federigo da Montefeltro)
- oil on panel

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Raphael - Baldassare Castiglione
- oil on canvas

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Raphael - Pope Leo X with Cardinals Guilio de’ Medici and Luigi de’Rossi
- oil on panel

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Leochares
Apollo Belvedere

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Verrocchio - David
- Bronze

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Donatello - David
- Bronze

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Michelangelo - David
- Marble (Carrare)
* tradition of Davids in Florence
* sculptural theory of subtraction- remove pieces to reveal the true sculpture
* head / hands disproportional
* inspired by Belvedere torso & Spear Bearer
-classic image of high renaissance
-contropossto
-looks calm, very muscular
-M participated in dissection, great sense of body detail.
-more detail in hands and face as compared to Praxitilies

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Belvedere Torso
- Marble

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Laocoon and his Sons
- Marble

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Michelangelo - Pieta
- Marble

* Mary is big/strong because of drapery
* light / shadow/depth
* Michelangelo signed over drapery
-high renaissance sense of the individual
-sense of peace on face
-Mich was very religious man

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Michelangelo - The Sistine Ceiling
- 1508-12
- fresco

* neoplatonism
* architecture (niches, structure etc.) painted!
* contrast of light and shade
* theme: Genesis

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Michelangelo - Libyan Sybil (Sistine)
- 1508-12

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Michelangelo - Cumean Sybil (Sistine)
- 1508-12

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Michelangelo - Zechariah (Sistine)
- 1508-12

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Michelangelo - Jonah (Sistine)
- 1508-12

* guides us in
* legs compensate for the curvature of the ceiling - interaction
* struggle (neoplatonism)

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Michelangelo - Ezekiel (Sistine)
- 1508-12
-shows active life, about to stand up

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Michelangelo - Jeremiah (Sistine)
- 1508-12
-shows contemplative life

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Michelangelo - Ignudi (Sistine)
- 1508-12

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Michelangelo - The Flood (Sistine)
- 1508-12
-noah is waving from window
-lots of people, took lots of time
-First section M worked on

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Michelangelo - The Temptation (Sistine)
- 1508-12
-Eve looks haggard after eating apple

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Michelangelo - The creation of Eve (Sistine)
- 1508-12

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Michelangelo - Creation of Adam (Sistine)
- 1508-12

* God in movement
* tension

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Michelangelo - Separation of Land and Water (Sistine)
- 1508-12

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Michelangelo - Creation of the Sun, Moon and Plants (Sistine)
- 1508-12

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Michelangelo - Separation of Light and Dark (Sistine)
- 1508-12
-made in one day
-fresco

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Michelangelo - Last Judgement (Sistine)
- fresco
> The Damned Rowed by Charon
-embodies notion of high renaissance

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Michelangelo - Last Judgement (Sistine)
- fresco
> Christ and Virgin Mary
-M looks back at Greek and Roman sculpture and excels at it
-most concerned with human form, form is divine
-jesus had greek body form
-image of the era after the sack of Rome and Protestant counter reformation

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Michelangelo - Last Judgement (Sistine)
- fresco

* counter-reformation
* hieratic scale again

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Bernini - David
- marble

* classic image of Baroque
* Goliath is behind (discobulos)
* engagement w/ space
* equating w/ painting, not classical
-implies things are included you cant see

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Bernini - The Martyrdom of St. Lawrence
- marble

* context of oppression
-B. changes from M's style by showing lots of movement and emotion
-Baroque- new active relationship and sense to provide pictorial effect with invisible components.

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Bernini - Portrait Bust of Cardinal Scipione Borghese
- marble

* tight buttons
* about to speak

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Bernini - Apollo and Daphne
- marble

* transformation/metamorphoses
-dramatic and theatrical
-passion
B wanted to prove sculpture was equal to painting

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Bernini - Pluto and Persephone
- marble

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Bernini - Ecstasy of St. Theresa
-marble and stucco
* total work of art
* passion
* metafictional
-weighty yet weightless

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Chartres, Cathedral

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Exterior and aerial Views
-3 doors symbolize holy trinity
-laid out as cross w/ steeple in center
-7 is # of holy spirit. There are 7 boxes leading to nave. 4 is # of nature, 3 is # of heaven

* tallest cathedral in France

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Essential Architectural Developments of the Gothic Style:
> Pointed Arch
> Ribbed Groin Vaulting
> Supporting Columns
> Flying Buttress- allow more windows= more light, very important in gothic architecture

* bigger windows
* thinner walls
* no concealing - truth, true beauty
* "God, the divine architect"
* "anti-classical": static, not physical - just spiritual

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Cathedral Plan

* geometry > perfection > closeness to god

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Interior View of the Nave
-cathedral is a model of the cosmos, shows a world to come

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Triforium, Clerestory, and Arcade along with Elevation Drawing

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Ceiling Vaults

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- High Altar with (7) Radiating Chapels

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Labyrinth
-represents notion of the journey
* in the center of the floor plan

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Unfolding Plan
-hieratic form, built to religious math proportions
* golden section-based
* see religious symbols and numbers (3, 7, 12, ...) represented

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Western Façade, Central Portal:
> Beau Dieu (stamping on a beast)
> Christ as Judge between the Virgin and St. John with Instruments of the Passion held by angels (top)
> Resurrection of the Dead (bottom)
> The Saved Received into Heaven (middle)
> The Damned sent to Hell (middle)

* figures twice the life size;
* hieratic scale (JC - biggest)
* realistic, traditional, static

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Western Façade, Left Portal:
> St. Firmin
> The Invention and Procession of the Relics of St. Firmin
-images/sermons in stone because people were illiterate

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Western Façade, Right Portal:
> Virgin Mary (standing on Adam & Eve)
> The Dormition and Assumption of the Virgin (middle)
> Coronation of the Virgin (top)

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Raphael - Stanza della Segnatura
- 1508-11

* circles / squares - divine knowledge
* segnatura = seal (octagon in the center)

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Raphael Stanza della Segnatura
- 1508-11
- Ceiling – Personifications:
> Theology
> Philosophy
--embodies renaissance style
4 perspective paintings are allegories
-popes hat in center showing knowledge of god through him

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Raphael Stanza della Segnatura
- 1508-11
- The Disputa

* below Theology
* wafer / communion - vanishing point
* personified God - holding a globe
* 4 books - 4 gospels
* circles X squares
-holy spirit bird points down between books like reading illuminates you to holiness
-puti in clouds in background like Raphael, sistine madonna
raphael = culture and art
Jesus portrays human and divine together

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Raphael Stanza della Segnatura
- 1508-11
- The School of Athens

* below Philosophy
* representation of St. Peter's basilica
* Plato and Aristotle in center (vanishing point)
They stand in front of door like jesus in last supper
* sculptures of Athena (wisdom) and Apollo (light)
-Michelangelo is at bottom
-Epicureus is eating

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Raphael Stanza della Segnatura
- 1508-11
- Parnassus

* poetry, arts circle painting nearby
* Apollo up top w/ muses
-uses a natural landscape
-apollo resembles jesus
-poets signified by laurel wreath (ovid, homer, dante, woman)

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Michelangelo, Tomb of Pope Julius II
> reconstruction of the first plan
> reconstruction of the second plan
> completed tomb in S. Pietro in Vincoli, Rome

* "Tragedy of the Tomb"
* counter-reformation

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Michelangelo - Tomb of Pope Julius II
> reconstruction of the first plan
> reconstruction of the second plan
> completed tomb in S. Pietro in Vincoli, Rome
-Moses shown as active and contemplative life
-Panofsky description of M.'s forms

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Michelangelo - Moses
- Marble
-has horns because he just saw jesus/revelation of the divine

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Michelangelo - Captives
> The Dying Slave
> Rebellious Slave
- Marble
-compact forms/integrity of block
* inspired by Laocoon and his sons

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Michelangelo, Late Slaves
- Marble
> The Young Slave
> The Awakening Slave
> Atlas (Prisoner)

* escaping from the rock

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Michelangelo - The Medici Tombs
- 1519-34
Medici Chapel

* unfinished
*engagement with neoplatonism and christian thought

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Michelangelo - The Medici Tombs
- 1519-34
> Tomb of Guiliano de Medici with figures of Night and Day
-jupiter

* active

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Michelangelo, The Medici Tombs
- 1519-34
> Tomb of Lorenzo de Medici with figures of Dusk and Dawn
saturn
* contemplative