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45 Cards in this Set
- Front
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ALLEGORY OF VENUS, CUPID AND FOLLY. BRONZINO. MANNERISM. FLORENCE. LARGE STYLE: Condenced composition. Exaggerated poses. ICONOGRAPHY: Warning of Sexual immorality and its consequences. Siphilis. |
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FOUR APOSTLES. ALBRECHT DURER. OIL ON WOOD. NOTHERN RENAISSANCE. Watch out for false Prophets. |
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GARDEN OF EARTHLY DELIGHTS. HIERONYMUS BOSH. HEINRICH OF NASSAW. NORTHERN RENAISSANCE. STYLE: Complex Composition. Trigliph Painting. Graphical. ICONOGRAPHY. 3 Panels; Garden of Eden: Adam and Eve, Jesus, Alchemy: Sulphur and , cat and mouse: Symbol of trouble. Temporal Realm. Berriess: Symbol of Gluttony. Muscles: Symbols of lust. Punishment. In the Wet: Drunkenness, OVER TURNED POT: Symbol of a lack of morality. |
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CHURCH OF SAN CARLO ALLE QUATTRO FONTANE. BORROMINI. ITALIAN BAROQUE
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PALACE OF VERSAILES. JULES HARDOUIN + LOUIS LE VAU. FRENCH BAROQUE Symbol of French Authority. STLYE: CLASSICAL THEMES: Pillasters, square engaged posts. IONIC COLUMNS, GRID: Use of Horizontals and verticals. Balanced, simplified and stable. CONTEXT. Uplift King Louis xiv who is symbolized by Apollo, the Sun King. FRENCH ROYAL ACADEMY: Regulated the arts, and artistic success. promoted, rationality, dignity and clarity and rejected emotionalism. |
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VIEW OF HARLEM FROM THE DUNES OF OVERVEEN. VAN RUISDAEL. BAROQUE. OIL ON CANVAS Text suggest: a parallel with “God’s restoration of the earth after Noah’s flood); Figures in foreground: “Spreading linen (a kind of cloth manufactured here) out across the broad fields to bleach in the sun.” As the Dutch pushed back the sea and build enormous dikes to keep it out, they reclaimed a lot of productive land that otherwise would have been under water. The Gothic church on the horizon, bridging the divide between the earth and the heavens reinforces this possible religious reading of the paintings. |
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HOLY FAMILY ON STEPS. NICHOLAS POUSIN. FRENCH BAROQUE. OIL. SUBJECTS: Jesus, Mary, John the Baptist, Joseph and Elizabeth. STYLE: Pyramid balanced Composition, with Mary at centre. Use of Verticals and Horizontals to provide balance and stability and clarity. Use of Primary colors. ICONOGRAPHY: Jesus receiving apple from John. Apple is symbol of sin, Jesus accepts the sin of man. Myrrh symbol of Christ's birth. |
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DAVID. MICHELANGELO. REPUBLIC OF FLORENCE. Italian High Renaissance. Marble. CONTEXT. Florence overcomes the Medici Family. SAVANOROLA. Inspirational speaker opposed wealth inspired revolt against Medici Family. STYLE: Classical, Contropostal pose, Humanistic facial expression (Thought). Exaggerated forms to compensate for viewer's perspective. |
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PEASANT WEDDING. BRUGEL. Nothern Renaissance. Oil. Marriage without Order. Man not in control of his marriage. ICONOGRAPHY. Bag Pipes: Peasant instruments, Man with Dipped Feather: Incompetent groom. Pudding: Woman's active sexuality, All men have had a taste. |
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VENUS OF URBINO. TITIAN. DUKE OF URBINO. VENETIAN RENAISSANCE. OIL. STYLE: Oil Paint: Vivid colors. USE OF COLOR composition, warm, soft figures. Reclining nude. CONTEXT: CHAMBER PAINTING, reserved for special occasions. ICONOGRAPHY: Woman passive, inviting. Simble of the ideal behaviour of a wife in Marriage. RED. Symbol of passion. Symbol of carnal love. |
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ASSUMPTION OF THE VIRGIN. CORREGIO. ITALIAN BAROQUE. PARMA CATHEDRAL. MANNERISTIC INVERSION. Engage the audience to decipher the hidden meanings of the work. STYLE: Complex composition. Blurry, illusionary protrudes into real space. ICONOGRAPHY: Virgin hidden amngest the people, ascending towards heaven. |
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FARNESE GALLERY, ROME. ANNIBALE CARRACI. ITALIAN BAROQUE. GIOVANNI VOLPATTO. Graissaile - sculputural illusion. Mannerism - Use of complex composition. |
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JUDITH AND MAIDSERVANT WITH HEAD OF HOLOFERNES. ARTEMESIA GENTILESCHI. ITALIAN BAROQUE. CONTEXT: Feminist sensibilities, illustrate virtuous female figures. NARRATIVE: Judith kills Holofernes and saves Israel by beheading him when he is asleep and drunk. Triumph of virtue over vice. SYLE: TENEBRISM: Use of dynamic spotlight to highlight figures. AMBIGUOUS BACKGROUND. |
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MADONNA OF THE LONG NECK. PAMIGIANINO. MANNERISM. Church of San Serv, Bolc. STYLE. Exaggerated Body Proportions, Large Body, small feet. Long Neck. ICONOGRPAHY: BABY JESUS: reminder of the birth of Christ, Grey skin, reminder of death. VASE: The immaculate Conception. MAN WITH SCROLL: Isiah. THE COLUMN: Symbol of the passion of Christ. CONTEXT. Incomplete. Remains of Leg at bottom. |
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STANZA DELLA SEGNATURA. RAFAEL. FRESCO. POPE JULIUS II. Italian High Renaissance. STYLE: Graissaile: illusionary sculptural forms. CLASSICAL FORMS: Arches, columns Interests of PAPACY: Poetry, Philosophy, Humanism, Rationality CONTEXT: Pope's private Chamber. Uplift pope as a Sophisticated man of military might. |
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ISENHEIM ALTERPIECE. MATHIAS GRUNEWALD. OIL ON PANEL. NOTHERN RENAINSSANCE. ST ANTHONY MONESTARY STYLE: Graphical. Intence gritty, illustration of Christ’s suffering. ENGAGED VIEWER: Painting shares space with audience. ICONOGRPAHY: Mary Dressed in White – sign of holiness. CONTEXT: Comfort patients suffering from ST. ANTHONY’S FIRE, a deathly disease at the time. Provide emotional release, as they witness the suffering of Christ. |
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ISAAC MASSA AND BEATRIX VAN DER LAEN. DUTCH BAROQUE. FRANZ HALS. CONTEXT: Jacob Cats: A writer spoke about ideal and successful marriage, is a marriage between two peoples of equal social status. STYLE: ICONOGRAPHY: Man is larger: In control of his marriage. WOMAN is smaller, casual, and smiling: she is content in her role. |
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WOMAN HOLDING BALANCE. JAN VERMEAR. DUTCH BAROQUE. Eternal Judgement. |
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IN LUXURY LOOKOUT. JAN STEEN. DUTCH BAROQUE. An illustration about what happens to the home when a man is not around. CONTEXT. Rise of Dutch Merchant class. the Constant Travels of men, who leave their families behind. ICONOGRAPHY. Preacher has a duck on Shoulder: He is a quak. PREACHER'S WIFE drops roses, pig eats the roses. wasted effort. YOUNG MAN WITH EMPTY POCKETS: No money. MOTHER asleep, suffering from Dry uterus. |
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LAST SUPPER. DA VINCI. DUKE SFORZA OF MILAN. TEMPERA AND OIL ON PLASTA. ITALIAN HIGH RENAISSANCE STYLE: Pyramid composition: Balanced, Christ at centre. NATURAL HALO: Natural light illuminates Christ. Divine light. Sfamato: Hazy, smokey edges, blurring figure – ground relationship. ICONOGRAPHY: Judas: Betray of Christ. Peter: The Leader of the Church. JOHN: The second coming of Christ. |
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Vitruvian Man. Da vinci. High Renaissance. Pen on Paper. Man is the measure of all things. ICONOGRAPHY: Square and Circle: Divine Shapes. Man can fit into both. HUMANISM: Uplift Humankind above all other animals. Man's ability to reason makes mankind great. |
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ASTRONOMY. BOLOGNA. MANNERISM. MEDICI FAMILY. GILT BRONZE.
QUINTILLIAN. Wrote about the discus thrower, and the emphasis on grace, and dignity, through diagonals. STYLE: SERPENTINATA POSE. |
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RAISING THE CROSS. PETER PAUL REUBENS. FRENCH BAROQUE. THEATRICAL. EMOTIONAL AND DREAMATIC Theatrical - Activity. Colorist, inspired by Titian. Use of Diagonals. Figures merge into each other. Clustered composition. |
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CONARO CHAPEL. BERNINI. CONARO FAMILY. ITALIAN BAROQUE. STYLE. BELCONPOSTO - Union of mixed artistic media. NEOPLATONIC - Focus on the spiritual. Express religious History. Natural light illuminates St Teresa of Avila. |
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TEMPIETTO. BRAMANTE. KING FERDINAND AND QUEEN ISABELLA. ITALIAN HIGH RENAISSANCE. ICONOGRAPHY: THALOS: Mark of the Matyrs, Peter was buried here. CIRCULAR PLAN: Divine Order, infinity. UPLIFT THE AUTHORITY PAPACY: Peter was the first pope. STYLE: CLASSICAL ROMAN. Clarity, balance, simplicity, just like the DIVINE PLAN. |
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ADAM AND EVE. ALBERCHT DURUR. PRINT. NORTHERN RENAISSANCE. Ideal classical himan proportions. Recognition of Flora and Fauna. |
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PAPAL ASS. WOOD CUT PRINT. NORTHERN RENAISSANCE. CONTEXT. The invention of the Printing Press. REFORMATION. Objection of the Absolute authority of the Papacy. Rejection of Indulgences, and rejection of the Worship of saints. Movement begun by Martin Luther 95 thesis. |
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LAS MENINAS (The Maids of Honour). VELAZQUEZ. Italian BAROQUE.OIL ON CANVAS. |
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St. TERESSA OF AVILA IN EXCSTASY. BERNINI. CONARO FAMILY. HUGE. MARBLE AND MIXED MEDIA STYLE: Youthful, NATURAL light from window illuminates sculpture.BELCONPOSTO – Uninion of many mediums into an Artwork. Eg, Architecture, Sculpture and painting. |
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PASTORAL CONCERT. TITIAN. VENETIAN RENAISSANCE. OIL ON CANVAS. Sensuous Nude Females, Verdant Landscape. Juxtaposition - Clothed Vs. Nude Allegory of the invention of Poetry. Poetry and Music all captured by Painting. |
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MONA LISA. DaVINCI. GIOCONDO. ITALIAN HIGH RENAISSANCE. OIL. SUBJECT: Wife of Giocondo the Merchant. Did not like the Painting. STYLE: SFUMATO: Hazy, smokey edge, blurring figure, background relationship. ATMOSPHERIC SEPARATION: Background receeds into distance. |
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ANATOMY LESSON BY DR. NICHOLAS TULY. REMBRANDT. DUTCH BAROQUE. OIL. STYLE. TENEBRISM: Use of spotlight to illuminate the work. Ambiguous background. Engaged audience. CONTEXT. Rise of medical practitioners - Doctors in social circles. The Change in attitudes towards dead bodies, medical practice permits observation of the dead. NICHOLUS TULY: Believed in the active participation of the medical doctor. |
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FRENCH AMBASSADORS. HANS HOLBEIN. OIL ON PANEL. NORTHERN RENAISSANCE Subjects: De Dinterville, Bishop STYLE: Vibrant Color, Miniturisim, placement of many contemporary items. ICONOGRAPHY: LUTE: Broken string, sign of disharmony. GLOBE: Potrays De Dinterville’s territories. SKULL: Momento Mori, reminder of death. CONTEXT: Counter Reformation. Response to the Reformation of Martin Luther. Sent to encourage loyalty to the papacy. |
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SISTINE CHAPEL. MICHELANGELO. POPE JULIUS II. FRESCO. ITALIAN HIGH RENAISSANCE. ICONOGRAPHY: Narrative, from back to front of Chapel, from DRUNKEN NOAH (Sin) To the POPE at the front. Path of Salvation. STYLE: FIGURES: Exaggerated forms, to compensate for audience perspective. CLASSICAL NUDES: Rationality, and divine characters. Inspired Mannerism. |
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FLOWER STILL LIFE. RACHEL RUYCH. DUTCH BAROQUE. OIL ON CANVAS STYLE: Oil Painting. Vivid Colors. Still life painting. CONTEXT: Dutch Independence from the Spanish. ICONOGRAPHY: STILL LIFE. Interest in the Study of Nature for scientific truth, control and power. DEAD PLANTS AMONGEST LIVING PLANTS: Symbol of the passage of time. Momento Mori. |
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NYMPH OF THE SPRING. CARNACH. NOTHERN RENAISSANCE. VENUS: Lust and Luxury. STYLE: Reclining nude. Dream of DILIPHALO - Found his true love in a dream, but lost her in his waking. He was happier in the dream. BOW + ARROWS - Goddess of the hunt ICONOGRAPHY: Earthly love, passion and sensuality. |
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SAN CARLO INTERIOR DOME. BOROMINI. ITALIAN BAOQUE It is supported by pendentives.It is an oval, rather than a circle, which is a more dynamic geometric shape. • Its coffered surface is made up of crosses and octagons which decrease in size as they move towards the centre (the octagonals here are a repetition of the octagonal shape of the plan of the central space). • Light from windows at the base of the dome and from the lantern at its top make the dome seem like it is floating. • This effect adds to the spiritual effect of the dove of the Holy Spirit which hovers at the dome’s centre. |
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FEAST IN THE HOUSE OF LEVI. PAOLO VERONESE. OIL ON CANVAS. Linear perspective, use of Color, CLASSICAL THEMES. - Arches, vaults columns. Grisaille - Illusionary sculptural forms. |
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SCHOOL OF ATHENS. RAFEAL. POPE JULIUS II. ITALIAN HIGH RENAISSANCE. FRESCO. SUBJECT: Painters and philosophers engaged in conversation. STYLE: Classical Themes: Clear, balanced composition. Vaults, Columns. FIGURES: Rational, dignified Figures. ICONOGRAPHY. APOLLO: Symbol of poetry. ATHENA: Symbol of Wisdom. PLATO: pointing up to heavnens, world of ideals. ARISTOLTLE: Pointing down to Earth, temporal world, source of scientific knowledge. |
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TRIUMPH OF THE NAME OF JESUS AND THE FALL OF THE DAMNED. GIOVANI BATISA GAULI. JESUIT ORDER. ITALIAN BAROQUE. FRESCO AND STUCCO STYLE: ENGAGES THE VIEWER.: Figures share same space as audience. Dynamic Lighting. ICONOGRAPHY: SYMBOL OF THE JESUIT ORDER: At the center of the Painting. |
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CALLING OF ST. MATHEW. CARRAVAGIO. CONTERELLI FAMILY. ITALIAN BAROQUE STYLE: TENEBROSSO – Divine light. Spotlight effect on painting. MUSCULAR CALVES: Masculine virility. SIMPLE BACKGROUND. Focus on the figures. CONTEXT. COUNCIL OF TRENT: THE COUNTER REFORMATION Respense to the Reformation of Martin Luther. Controlled all Art. Art must be dramatic, emotional and focus on biblical saints. |
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SIGHT. JAN STEEN AND PETER PAUL REUBENS. DUTCH BAROQUE. Warning about excess of luxury without spiritual wealth. NARRATIVE: Venus and cupid study a painting, with a Monkey doing the same. ICONOGRAPHY. THE MONKEY: Human folly. PEACOCKS: Symbol of Vanity and Ressurection. PARROT: Ave Ave, symbol of Mary, symbol of Virtue. |
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HALL OF MIRRORS. PALACE OF VERSSAILLES. LOUIS LE VAU JULES HARDOUIN STYLE. Mirrors reflect garden, and reflect natural light, increasing sense of space. Connects the room of Peace and the Room of war. CONTEXT. Mirrors are expensive, Louis XIV demonstrates power and wealth. |
