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13 Cards in this Set

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a medival bulding storng horizontals, a baptistery something of stability in articulation of features. vertices under control. clerestory is restrictive. dome--brunalleschi collaborated in exectuing trinity with massacio. the pantheon dome competed with this dome. this was a gothic reply to the panteon's dome--through rib vaulting, used to cover an enormous space, as ribs support structure.
brunelleschi, florence cathedral dome. 1417-1436
interior--way more horizontal than vertical now. a flat roof with no vaults, series of arcades. revical of antiquity of early christianity.
church of San Lorenzo, Florence. ca. 1421-28
meant to look roman, characterized by the facade...
Orsanmichelle, paris. Quattro Coronati.
series of figures--sculptors working on their work. meant to look roman, contraposto.
a detail
attributes 15th century life shown leading troups into battle. has a lot of reality presence. rigged eyebrows and jawline.
donatello, gattamelata. 1447-53.
very realistic and ideal.
he is extremely realistic, features wise, extremely roman
relics associated with it, sacred. new means to commemorate it. not waht he intended, masked it. a pediment, combo of a triumphal arch and a pediment. nave leads all the way to alter, no lateral naves.
church of Sant Andrea. , mantua 1470.
nave leads all teh way to the alter, no lateral naves. notion of salvatoin. cahpeels in laterals. layout meant to suggest order.
plan of sant andrea, mantua 1470
c. 1450..made the church into a temple of himself. hubrus associated with it. a gothic strucrture encased by exterior. roman arch is teh inspiration of his temple, has much resonance to christian church. a tomb, missing huge hemispherical dome. the blind arch seires have a purpose, meant to have corpses plafced inside.
tempio malatestianop, rimini, ca 1450.
the plan has a lot of resemblance to the chuirch paln. naves are blocked into units-mini chapels. exterioroi side has blind arches.
the plan
17th and 18th century interior. basic structure--enormous s ale of unified space. about integration of horizontal and vertical, like the dome of the pantheon.
interior of san andrea, 1470. mantua.
the emblem of the renaissance. identified as venus in teh cneter, flora to the right, nymph to the right, the three graces on the left. cupidon top, mercury on teh left. shallow idyllic space, fantasy existing in mind's eye. contemplation of sophisticated court. decorative surface. gestures-venus is inviting.. absence of textures-ideal.
Primavera! Botticelli, 1478.
pomona-goddess of vegetation
ideal nude outline, return to medival.
waves are two diomensional. reflects neoplatonism, everythin on earth is a poor refle tion of a higher reality. an allegory of birth, beauty, fertilization of matter and divinity., creating something of higher beauty.
The birth of venus, c 1480=1485