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61 Cards in this Set

  • Front
  • Back
The Medici
-dominant Florentine banking family
-de facto rulers of Florence
-leading supporters of humanism
-wanted to reconcile Christianity with Platonic philosophy
Florence Cathedral
-to last until 1436
-died before the latern was completed
-his design
-learned by example
-Pantheon
-Roman building techniques not utilized
-used vertical ribs: 24
-octogonal drum
-not perfectly heispherical
Hospital of Innocents
-Brunelleschi
-Florence
c. 1419
to shelter orphans and foundlings
financed by Giovanni di Becci de Medici
divided into bays
derived from Greek and Roman temple architecture
-based on unified system of cubes and squares
Santa Spirito
-rejection of Gothic architecture
-planned in 1434
-simplicity
-proportion
-symmetry
-plan a basic Latin cross
-arches supported by Corinthian columns
Meeting of Solomon and Sheba
Ghiberti’s East Doors
-has political implications
-Christian implications
East and West
-related to efforts to unite eastern and western branches of the church
door divided into 2 sets of five old testament scenes
-molded in wax
-cast in bronze
-faced with gold
-nicknamed "Gates of Paradise"
-one-point perspective
-diminishing size of figures
-put in self-portrait
-lower right corner of Jacob and Esau
-c. 1424-1452
Linear Perspective
-created by Brunelleschi
-based on the observed fact that distant objects seem smaller than closer objects
-'window'
-edges of roof and walls extended along imaginary lines(orthogonal)
-coverage at single point(vanishing point)
Flagellation
-Piero della Francesca
-c. 1460
-Tempera on panel
-Docal Palace, Urbino
Adoration of Magi
-Leonardo da Vinci
-rare look at artists working plan
-permitted pen: painters to fulfill idea of creating illusion of nature on flat surface
Dead Christ
-Andrea Mantegna
-c. 1500
-tempera on canvas
-super-imported orthogonals
-vanishing point above the picture plane
Antonio Pisano
-casting bronze medals
-ruler on the obverse(front)
-an emblematic image on reverse(back)
-leading medalist
-painter
-widely praised as a humanist
-known as Pisanello
Tommaso de Ser Govanni do Mone
Masaccio
-most thoroughly assimilated innovations with Giotto
The Holy Trinity
Masaccio
-c. 1425
-fresco
-Santa Maria Novella, Florence
-shows perspective
-skeleton lies on sarcophagus
-inscription laid above
-"I was once what you are. And I am to what you will be."
-momento mori ("reminder of death")
-Father, Son, Holy Spirit
-occupy higher space
-God on foreshortened ledge
-faces observer
-out stretched hands
-dove representing the Holy Spirit
-commissioned by the Lenzi family
-base of the figural pyramid
-to be buried in front of painting
The Brancacci Chapel
Masaccio
-major commission in Florence
-fresco style
-Church of santa Maria del Carmine
-illustrates life of St. Peter
-chiaro: light
-scuro: dark
-natural use of life and shade
Expulsion from Eden
Masaccio
-2 most powerful painted nudes since antiquity
-Eve's pose: Venus
-Adam: hunched and covering face
-leave gateway of paradise behind them
-uses both linear and aerial perspective in Brancacci Chapel frescoes
Gentile da Fabrino
-1370-1427
-first documented in Venice in 1408
-established himself as a leading painter of the International Gothic style in Northern Italy
Adoration of the Magi
-Gentile da Fabrino
-c. 1423
-tempera on wood panel
St. Mark
-Donatello
-c. 1411-1415
-marble
-illustrates the revolutionary method of rendering organic form and drapery
-reminiscent of the Spear Bearer by Polykleitos
The Bronze David
-Donatello
-c. 1430-1440
-bronze
-commissioned by the Medici family
-1st largest naturalistic nude sculpture known since antiquity
-pose influenced by Classical statues
-complacent facial expression
-enigmatic character
-complex meaning
-polished bronze adds elegance
Leon Battista Alberti
-1404-1472
-wrote treatise On Painting
-1440s forward worked on architecture
-influential treatise De re Aedificatioin (On Architecture)
-based on Roman architectural treatise of Vitruvius
The Ruccellai palace
-Leon Battista Alberti
-c. 1446-1450
-belonged to Giovanni Ruccellai (wealthy merchant)
-facade symmetrical and composed
-illustrates Alberti's interest in harmonious surface design
-Iconic on 2nd
-Corinthian on 3rd
The Tempio Malatesta
-Alberti's most intriguing commission
-his 1st church
-Sigismondo Malatesta
-humanist ruler of Rimini
-hired Alberti to advise on reconstruction of the Church of San Francesco
-wanted church converted to a pagan temple
-condemned to hell by Pope Pius II
-1462
-perversion, rape, murder, and heresy
-financial setback
-Tempio's completion prevented
Sant' Andrea in Mantua
-Alberti
-1470-1493
- commissioned by Lodovico Gonzaga
-Marquis of Mantua
-achieves the solution left unfinished by the Tempio
-completed 21 years after his death
-Classical temple portico
-Roman triumphal arch
-barrel-vaulted space
-reminiscent of ancient Roman basillicas and baths
-main concern= symmetry
Youthful David
-Andrea del Castagno
-c. 1450
-tempera on leather mounted on wood (shield)
-carried in civic processions
-statuesque style
-depicted in vigorous movement
David
-Andrea del Verrocchio
-early 1470s
-bronze
-commissioned by Lorenzo de Medici
-known as Il Magnifico
-sinewy angular adolescent
-expresses different facet of adolescent arrogance
-Goliath's head at feet
-gazes out into space
-slightly gawky, outgoing, energetic boy
Famous Men and Women
-Andrea del Catagno
-c. 1450
-Villa Carducci @ Legnaia
-frescoes transferred to plaster
-consists of nine figures
-3 Florentine soldiers
-3 Poets
-Dante
Petrach
Boccacio
-3 women
-Queen Esther ( Old Testament)
Tomyris the Tartar queen
the Cumaen Sibyl
-humanist character
-reflect humanist interest in freedom and primacy of intellect
-soldiers: heroic fighters
-Esther and Tomyris: defended the liberty of their people
-Sibyl: wisdom
-Dante: wrote the Divine Comedy
John Hawkwood
-Paolo Uccelo
-c. 1436
-fresco transferred to canvas
Niccolo do Tolentino
Andrea de Castagno
-Florence Cathedral
-c. 1455-1456
Gattamelata
Donatello
-c. 1445-145
-bronze
-in Padua
-compare to Marcus Aurelius
Collene
Verrachio
-c. 1481-1496
-bronze
-reveals aggressive character
- impression of a formidable warrior
-frown lines
-powerful torso
Battista Sfoza and Fredrico da Montefeltro
-Piero della Francesca
-post 1475
-oil and tempera on anel
-iconography inspired by ancient Rome
-particularly by profile busts on ancient coins
Piero della Francesca
-interested in mathematical and geometric possibilities of painting
Annunciation
Piero della Francesca
-c. 1450
-fresco
-several allusions to miraculous impregnation
Annunciation
Fra Angelico
-c. 144
-fresco
-thin and delicate figures
-vanishing point/orthogonals
-utilizes light to convey a sense of spirituality
Madonna and Child withe scenes from the Life of St. Anne
Filippo Lipi
-c. 1450
-shows his taste for Masacciesque blonde figure types and weighty forms
-Jesus eats a pomegranite =>allusion to the Ressurection
-monumental forms
-delicate, curvilinear draperies
-transparent halos that filter light through gold and rich textures
-this appealed to Medici
Church of San Francesco
Piero della Francesca
-Bacci of Arezzo commissions Piero
-complete fresco cycle in family chapel
-Legend of the True Cross
-depicted in 10 scenes symetrically arranged
-both formal and iconographic
Andrea Mantegna's Illusionism
Andrea Mantegna(1430-1506)
-worked for Lodovico Gonaga
-decorated audience chamber of the Ducal Palace
-new perspective
-create illusionistic enviorment
-2 walls frescoes of the Gonzaga family
-fictive oculos
-most dramatic use of illusionism
Mantegna and the Studiolo of Isabella d'Este
-worked for Isabella d'Este for last decade of his life
Isabella
-commissioned 7 large paintings and 2 small ones
Parnassus
Mantegna
-c. 1497
-tempera on canvas
-Mars and Venus
-calm, triumph of love(triumph implied in arch)
-makes fun of Vulcan
-agitated, frantic gesture
Mars and Venus
Sandro Botticelli
-c. 1475
-tempera on panel
-Venus: sits upright, awake and clothed
-Mars: nearly nude, reclines in sleep
-dangers of men who fall in love with women
-butt of satyrs' joke
Birth of Venus
Sandro Botticelli
-c. 1480
-tempera on canvas
-made for member of the Medici family
-derived from Medici's Venus
-conveys the impression that she is just waking
-Venus on scallopshell
-Zephyr gently blows Venus to shore
-blue drapery
-suggests cool breeze
-embraced by a female wind
-female ashore
-personification of spring
-rushes to cover Venus in a pink floral cloak
Mary Magdelene
-Donatello
-c. 1455
-painted wood
-devoid of classical illusions
-despair
-hollowed cheeks
-sunken eyes
-use of long hair as clothes
-sign of penance
Mystical Nativity
-Sandro Botticelli
-c. 1500 or 1501
-oil on canvas
-has agitated quality
-proportions longer and thinner
-increase in formal movement
-radical shift in style and iconography
Robert Campin
-Master of Flemalle
-tempera and oil on wood
-center panel of the annuciation
-left panel: 2 donors kneel near the open door
-right panel: Joseph makes mousetraps
-each panel has a different view point
-takes place in a bougeois home
-secular objects endowed with Christian meanings
Jan van Eyck
1390-1441
-combines Netherlandish interest in natural detail and tacticle sensibility with Christian symbolism
The Ghent Alterpiece
Jan van Eyck
Alterpiece of the Lamb by All Saints
-completed 1432
-oil on panel
-polyotych: many paneled paintings
-24 panels: 12 inside, 12 outside
-refined medieval technique of oil painting
-glow of light and color took a symbolic meaning
-fons vitae
-washing away sins
-upper register contains:
-God the Father
-Christ of the last Judgement
-Deecis
-the Virgin
-John the Baptist
Man in a Red Turban
Jan van Eyck
-c. 1433
-tempera and oil on wood
-widely believed to represent
-turban fashionable contemporary headdress
-shows artist delight in angular folds
-features meticulously defined
Arnolfini Portraits
Jan van Eyck
-c. 1434
-oil on wood
-about basic elements of painting
-several referances to pregnancy
-drapery of dress
-fruit = natural abundance
-St. Margaret: patron of women in childbirth
-dog = fidelity//erotic associations
-bridal candle
Van der Wegden
1399-1463
-official painter of Brussels
-trained in the Tourani workshop of Robert Campain
Descent from the Cross
Van der Wegden
-c. 1434-1438
-oil on wood
-illustrates theme imbued with emotional content
-10 harshly illuminated figures
-Virgin
-Mary Magdalen
-Joseph of Arimethea
-St. John
St. Luke depicting the Virgin
Van der Wegden
-c. 1435-1440
-oil and tempera on panel
Tommaso Portinari
Maria Baroncelli
Hans Memling
-c. 1470
-oil on wood
-commissioned on occasion of their wedding
-3/4 view against dark background
-emphasises surface texture
The Portinari Altarpiece
HUgo van der Goes
-c. 1470s
-oil on wood
-central panel represents Mary, Joseph, shepards, and angels adoring the newborn Jesus 
 -deep, rich colors
Adoration of the Shepherds
Domencio Ghirlandio
-c. 1485
-panel
-clearly related to the Adoration done by Hugo van der Goes
-shepards do not show signs of agitation like Hugo's
-relaxed
-natrualistic
-goldfinch=symbol of Jesus' eartly mission to die on the cross
The High Renaissance in Italy
Architecture
-The Ideal of the Circle and Centrally Planned Churches
important architechtual idea that preoccuied many artist and writers
-the centrally planned church building
-based on notion that the ideal shape was a circle
-Plato considered circle the perfect geometric form
-belief in the divine property of the circle was reflected in churches an mosque
-domed ceilings represented heaven
-based on the Greek cross are centralized
15th centaury circular ideal was in an aspect of the humanist synthesis.
-related to new interest in the direct observation of nature
Leonardo Da Vinci
followed Alberti’s principles when devising his own projects for churches
Vitruvius Man
Entombment
Pontorma
1525-1528
oil on panel
-Church of Santa Felicita in Florence
gray areas denote pallor of death
Michelangelo’s influence seen in carved appearance of drapery
ambiguous space
fleshy forms
pink-and-blue palette
Mary and jesus removed from the frenzy
-sky darkened
Self-portrait in a Convex Mirror
Parmigianino
-c. 1524
-oil on wood
Madonna and Child with Angels
aka: Madonna with a Long Neck
Parmigianino
-1535
-oil on panel
other figures have short upper bodies
Madonna: spatial twist of the the torso and legs
-cool metallic colors
-back old testament prophet in distance
visual juxtiposition of Mary’s neck to the column behind her
figura serpentinata: mannerist
Venus, Cupid, Folly, and Time
Agnolo Bronzino
- c. 1545
oil on wood
allegory
erotic overtones and enigmatic imagery
playful image
attention paid to details as well as coloration
consistent with Bronzino’s courtly style
commissioned by Cosimo I de’ Medici
-gift for Francis I of France
Venus and Cupid on foreground
bathed in white light
skin has porcelain texture
three on the foreground twist in a Mannerist serpintinata pose
only putto’s pose consistent with his actions
Elenora of Toledo and Her Son Don Giovanni
Agnolo Bronzino
-figures highly attired
-carefully ordered velvet and brocade along with her curved tiara and double strand of pearls
-elitist pose
-sophistication of the court
-aloof
saltcellar of Francis I
Cellini
c. 1543
gold and enamel
illustrates the iconographic complexity and taste for mythological subject matter
two nude figures represent Jupiter and the Earth goddess