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;
16 Cards in this Set
- Front
- Back
- 3rd side (hint)
|
Maesta Altarpiece, Duccio. This is considered to be Late Medival Art. "Adoration and Instruction" The function of Naturalism.
|
Maesta Altarpiece
|
1308-1311.
focused on the virgin. people tended to prey to her as mediator between deity and her humanity of her relationship between child. her size indicates status. celbrates the eucharist with back to congregation, the priest is now a part of the community, light and shade reappear. logic to light source. grace in folds of cloth. gold is an indication of heaven. |
|
|
Back of the altarpiece.
|
from 1308-1311.
|
Th back is imporant because it faced the ambulatory. multiple narratives of chirst, leading to execution. a whole history and served as a bible for the poor. justification of the use of images here as it serves a pedagogical function. attempt to invest story with texture of daily life. its wood, plaster gold ground, tempera painting with egg yolk medium and mineral paint.
|
|
|
detail - Entry into Jerusalem.
|
detail
|
attmpet here for garment folds to convey laws of gravity. a return to the mortality of christ, depicting humanity. he rides a donkey--a vow of poverty, what it means to be christian. a concern for every day life. not much visual depth, but evident they have knowledge of how to create the scene-intentionally put the buildings but space constraints.
|
|
|
christ betrayed. 1308-1311
|
christ betrayed.
|
depicts kiss of betrayal, dramatic expression-mortality of christ.
|
|
|
Scrovegi Chappel, Giotto from Padua. 1305-1306
|
Scrovegi Chappel, Giotto from Padua. 1305-1306
|
Scrovegni gave this money to have it made as his father was a banker, and tries to repay his fathers sins of usury. covered in frescoes representing the life of christ
|
|
|
1305-6
|
Last Judgement, Scrovegni, 1305-6
|
space becomes contiguous to our space. it becomes shallow which palces it at eye level and becomes a psychological event. everything is now on one plane. no gold ground, now a blue ground like sky.
manipulation of the viewer. attempt to humanize christ's soul through the flat one point perspective. |
|
|
Detail of Last Judgment on west wall
Showing patron, Enrico Scrovegni Offering the chapel |
Detail of Last Judgment on west wall
Showing patron, Enrico Scrovegni Offering the chapel |
scrovegni was scared of his father's sins, and therefore depicts himself offering the chapel-indicating a fear of judgement.
|
|
|
entry into jerusalem, scrovegni chapel, giotto 1305-1306
|
entry into jerusalem
|
|
|
|
Christ Betrayed.
No Gold ground anymore. Surface--the images come out of it. backs turned make it like you are in the scene |
Christ Betrayed
|
the kiss-a lot of detail. This is a narrow stage space, unlike duccio. strong light and shade space head turned away indicates movement from our space to pictorial space.
|
|
|
Scrovegni Chapel,
Padua, 1305-06 Lamentation |
Scrovegni Chapel,
Padua, 1305-06 Lamentation |
agony of despair. mary magdalen raises hand, a spatial marker indicating the use of space. foreshortening--arteist gives the impression of figure turned in space, in between frontal and profile.
|
|
|
Ognissanti Madonna,1302-10
figures here aer on the space. natural treatment of colors, proportions, virgin is the ideal beauty. christ child is a spectator. |
Ognissanti Madonna,1302-10
|
groundbreaking spatial consistency and sculptural solidity. unprecedented physical immediacy. entrhoned image. play of light and shadow across substantial forms creates a suggestion that they are fully three d beings inhabiting space.
|
|
|
Duccio Rucellai Madonna, 1285
virgin is not the queen of mankind but the queen of the universe. refined treatment of virgin. not coherent as a three d object though. |
Duccio Rucellai Madonna, 1285
|
|
|
|
Masaccio, Trinity with the Virgin, Saint John the Evangelist, and Donors, Florence, Santa Maria Novella, 1425-28
|
Masaccio, Trinity with the Virgin, Saint John the Evangelist, and Donors, Florence, Santa Maria Novella, 1425-28
|
Piety suggestion--solution to death. doners stan outside the barrel vault--revival of roman architecture. brunalleschi collaboirated with massachio, interested in one point persepctive. cofferes are systematic. whole thing depends on vanishing point at the bottom of the crosss. viewing and vanishing point almost coincide. mathematical system persuadfes you taht its what you would really see. attempt to break picture plane. now halos are foreshortened metal plates.
|
|
|
Masaccio, Brancacci Chapel, Florence, ca. 1427
|
Masaccio, Brancacci Chapel, Florence, ca. 1427
|
funded by brancacci, individual piety, psychological burden of adam and eve, particularity in gesture.
|
|
|
Masaccio, Expulsion of Adam and Eve from Paradise Brancacci Chapel, Florence, ca. 1427
|
Masaccio, Expulsion of Adam and Eve from Paradise Brancacci Chapel, Florence, ca. 1427
|
|
|
|
Masaccio, The Tribute Money, c. 1423-28, The Brancacci Chapel, Florence.
|
Masaccio, The Tribute Money, c. 1423-28, The Brancacci Chapel, Florence.
|
|
