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19 Cards in this Set
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Bramante, Design for New St. Peter’s, 1506, High Renaissance
-greek cross plan -burial site of St. Peter -a lot of symmetry -a bunch of little tempieto -lots of pediments with domes -reminiscent of St. Mark’s with the use of multiple domes -not practical to have centralized plan as the seat of the pope |
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Bramante, Tempietto, 1500, High Renaissance
- Commissioned by Pope J. II - On the site of St. Peter’s martyrdom - Sculptural approach to architecture - Built up with small decorative elements as opposed to featuring a large architectural structure - Very regularized |
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Genevra de Benci
-sfumato |
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The Last Supper
-language of gesture |
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Leonardo, Madonna and Child with St. Anne, 1508-13, High Renaissance
-Interest in anatomy and in detail of the body -St. Anne is looking at her daughter with love -Mary is looking a Jesus -pyramidal format -cartoon – prepatroy drawing -use of pyramid united the figures - here jesus is separate from the lamb and plays with it, as opposed being a shepherd or lamb -misty foggy feel |
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Madonna of the Rocks
-gesture |
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Leonardo da Vinci, The Mona Lisa, 1503, high Renaissance
-not the full piece -there were two columns on each side -unfinished -two different horizon lines -if it was for a commission, why did he never give it -he had it at his death in 1517 -kept going back to it -alter ego perhaps |
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Leonardo Da Vinci, Sketchbook, 1500, High Renaissance
-involved in a lot more than art -invented a lot of stuff -dissected a bunch of humans to get perfect anatomy -architect -invented a ton -dedication to observation -“a comparison of the arts” -painting is purely creative |
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Creation of Adam Michelangelo, Sistine Ceiling, 1508-12
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Michelangelo, David, 1501-04, High Renaissance
-studies the male anatomy -super idealized -his hands and head are larger – intellectual and strong -to be placed at the base of the dome of the Florence cathedral -bring attention to the source -application of classical ideas to biblical stories |
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Deluge Michelangelo, Sistine Ceiling, 1508-12
- the flood, noah and his arc - starts with the story of Noah then Adam and even then creation - very dense, heavy and muscular bodies - you can see the influence of his sculpting background - more fluid and movement towards the end - makes it a more and more focused image - aaron - while he is working in Rome, there are tons of excavations around the city – gives him a dynamic, Hellenistic sense of movement |
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Michelangelo, Sistine Ceiling, 1508-12
-hit the pope - had assitants -worked with advisors to come up with the iconograhic scheme of ceiling -there are neoplatonic element because there are sibyls -old testament figures -old profits -book of genisis -all leads up to the last judgment |
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-pope Julius started planning his tomb and asked Michelangelo to do it
- wanted a big tomb with hella sculptures -only sculpture from tomb -moses when he comes down from the mountain to see the adoration of the golden calf -sad moses sitting about to get up -similar form to the large profit portraits in the chapel |
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Michelangelo, Pieta, 1498-99
-goes to Rome and looks at all the antiquity -big push to honor late classical/Hellenistic values -idealized face but body is realistic and sad -integrated pyramidal form -hella drapery -jesus is smaller than mary -drapery gives mary more volume -contentedness and complacency -it was meant to be |
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Michelangelo, Laurentine Library, 1524, High Renaissance
-vestibule, reading room and rare books room - stairway -- Brings in a much more DYNAMIC sense - commissioned by the medicis -throws off the visitor - fans of humanism –staircase takes up the whole vestibule -this is later Michelangelo (think about later vs earlier Michelangelo) -very classical elements of decoration in an unconventional way. – set in engaged columns on the walls with pedement that extends over the columns - focuses on movement and gesture, more focused on the form -curved stairs and linear stairs – the sides seem more stable, regularized -you don’t feel secure on the sides because there is no banister -shows his interest in movement, comes from study of Hellenistic pieces |
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Raphael Philosophy (School of Athens), Raphael, 1509-11, High renaissance
-almost neoplatonic to have philosophy across from religion -raphael puts himself in the painting as a student |
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Rafael, Madonna and Child (of the land), 1500s, High Renaissance
-Raphael is a social climber -Perugino was his teacher -atmospheric perspective perfected -parsley sprigs -uses sfumato on the faces -pyramidal composition |
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Raphael, Galatea, 1513, high renaissance
-secular mythological fresco -in villa for the pope’s banker -sea nymph -light playful and relaxed tone, fluid -she was considered to be the ideal woman -sensual tone even in the large amount of movement |
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Raphael, Sistine Madonna, High Renaissance 1513
-sistine Madonna -pope julius’s accention to heaven -saint Barbra- hour of death saint -puti lleaning on his tomb |