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22 Cards in this Set
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-GIOTTO DI BONDONE, Lamentation, Arena Chapel, Padua, Italy, ca. 1305. [Florence]
-Naturalism -Humanist inclusion of viewer -Emotional distinction in figural expression -Expressive composition -Fresco medium -Giotto creates stronger illusion of physical reality, giving the emotion a more experiential quality (i.e.: “you are there”) -Life and death of christ |
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-Duccio, Virgin and Child Enthroned with Saints, principal part of the Maestà Altarpiece, Siena Cathedral. 1308-11; tempera on wood panevlMuseo dell’Opera del Duomo. [Siena]
-Sienese devotion to Virgin Mary (aid in victory over Florentines, 1260) -For High Altar at center of Siena Cathedral, under dome -Iconography: Virgin enthroned in majesty as Queen of Heaven -Byzantine style modified with humanist and naturalistic elements -Influence of silk trade on fabrics |
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-Pietro Lorenzetti, The Birth of the Virgin, from Altar of Saint Savinus, Siena Cathedral, 1342; tempera on wood, [Siena].
-Anna gives birth to the Virgin Mary, who is bathed by women in the birthing room - A messenger brings the news to Anna’s husband, Joachim -Verbs--describe the towels and water=purity -men sit and wait in the hallway while women take care of the birth -Modeling--varying degree in value, degree of light and dark -Degree of Saturation--pigmentation -mimics brother Pietro Lorenzetti and Italian artist Giauto |
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-Van Der Weyden, Deposition, from Notre-Dame hors-les-murs, Louvain, Belgium, ca. altarpiece, ca. 1435. Oil on wood, [Duchy of Burgundy—artist was Flemish]
-Detail: St. John (one of the disciples) supporting the Virgin -Detail: Virgin Mary experiencing a “vicarious death"--imitating christ -Deposition= taking christ off cross |
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-Robert Campin (a.k.a. Master of Flémalle), Mérode Altarpiece (open position): donors (left panel), Annunciation (center panel), Joseph in his carpenter’s shop (right panel), ca. 1425–1428. Oil on wood, center panel approx. 2’ 1” x 2’ 1” [Duchy of Burgundy—artist was Flemish]
-Metropolitan Museum of Art, New York (The Cloisters Collection, 1956). Triptych -left panel: patroons opening the door -Detail: left and central panels: donors and Annunciation emblems: mundane objects that also stand for concepts--used in homes -Mary -Holy cloths -3 lilies=Trinity--father, son and holy spirit -Vase with fake Hebrew=Old Testament -Detail: right panel Joseph in his carpenter’s shop emblem of mousetrap: “catches the devil” |
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-Jan van Eyck, Ghent Altarpiece, Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, ; closed position: Annunciation with prophets, sibyls, saints, and donors; open position: Adoration of the Lamb [Duchy of Burgundy—artist was Flemish]
-Patron: Chief Magistrate of Ghent - Polyptych: prophets and sybils; Annunciation; donor portraits flanking “statues” of Sts. John and John the Baptist -Statues are black and white to create an illusion of statues |
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-JAN VAN EYCK, Ghent Altarpiece (open), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood,
-Adam and Eve; angels; Virgin Mary, St. John the Baptist, God as Christ -Christ-God flanked by the Virgin Mary and St. John the Baptist; music-making angels; Adam and Eve -Christ=the “New Adam”; Mary=the “New Eve” -Intricate detail; richly saturated color; sparkling highlights -achieved through use of oil paint as medium -Adoration of the Lamb: allegory of Christ’s sacrifice; allegory=“other speak” -Detail: singing angels -Van Eyck’s naturalism suggests portraiture even when portraiture is not present -Human basis of visual language -Adoration of the Lamb: sacrificing of Christ |
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-Jan van Eyck, Giovanni Arnolfini and His Wife (Jeanne Cenami), 1434. Oil on wood, [Duchy of Burgundy; patrons were Italian, artist was Flemish] National Gallery, London.
-Patron: Giovanni Arnolfini, an Italian financier living in Bruges (Flanders) -Patron’s wife: Jeanne Cenami; Italian, but born in France--represents marriage or betrayal -JAN VAN EYCK, detail of Giovanni Arnolfini and His Wife, 1434: convex mirror, inscription: -Johannes de eyck fuit hic “= “Jan van Eyck was here” ◊ 1434 ◊ -Oranges and terrier: Van Eyck’s naturalism combined with emblems of fertility, loyalty |
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-Van der Weyden, Portrait of a Lady, ca. 1460. Oil on panel, [Duchy of Burgundy—artist was Flemish] National Gallery, Washington.
- Woman’s self-contained gaze downward. |
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-Ghiberti, Isaac and His Sons, east doors, baptistery, Florence Cathedral, 1425–1452. Gilded bronze relief, [Florence]
-Cathedral, Florence, Italy, 1401–1402. Gilded bronze relief -LORENZO GHIBERTI, east doors (“Gates of Paradise”), baptistery, Florence Cathedral, Florence, Italy, 1425–1452. Gilded bronze relief, Modern copy, ca. 1980. Original panels in Museo dell’Opera del Duomo, Florence. |
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-LORENZO GHIBERTI, Isaac and His Sons, east doors, baptistery, Florence Cathedral, 1425–1452. Gilded bronze relief,
-Linear perspective: orthogonals in floor lead to “vanishing area” in central archway -Aerial (also called atmospheric) perspective: varying levels of relief (high to low relief) and scale (relative sizes of figures) to make some figures look closer than others -Use of classical sculptural models -Isaac's sons were Jacob and Esau -Isaac blessing Jacob instead of Esau |
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-Masaccio, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco, [Florence]
-tax collector asks Christ for money but doesn't have any so he instructs Peter to get a fish out of the water and a coin emerges from the mouth of the fish -MASACCIO, Expulsion of Adam and Eve from Eden, Brancacci Chapel, Santa Maria del Carmine |
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-Brunelleschi, Dome of Cathedral of Santa Maria del Fiore, Florence, 1420-36 [Florence; public commission]
-Brunelleschi: Florentine architect and sculptor Dome of Florence Cathedral: consists of inner, skeletal shell and outer shell of several million bricks; vertical ribs on exterior help support dome and lift the eye upward -begun 1296; dome by Filippo Brunelleschi, 1420-1436 -dome rises to a single point at the top -Baptistery is octagonal building set apart - Competition for design of east doors of Baptistery sponsored by wool merchants’ guild--loses to Ghiberti |
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-Donatello, David, late 1420s – late 1450s. Bronze, [Florence] Museo Nazionale del Bargello
-Commissioned by Medici for display in family palace courtyard -Use of contrapposto-- counter pose/different posture attitudes/inflection of torso--slightly turned and bent -first bronze statue since Italian Renaissance emulation of classical antiquity (shown: Kritian Boy, Greek marble sculpture,c. 480 BCE) |
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-Botticelli, Primavera, ca. 1482. Tempera on panel, [Florence] Uffizi, Florence: the earthly Venus
-Originally hung in room adjacent to bedroom of newlyweds Lorenzo di Pierfrancesco de’Medici and Semiramide d’Appiani |
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-Leonardo da Vinci, Virgin of the Rocks, ca. 1485. Oil on wood (transferred to canvas), approx. 6’ 3” x 3’ 7” [painted in Milan—artist was Florentine] ”. Louvre, Paris
-Patron: altarpiece for confraternity of Immaculate Conception, church of San Frencesco Grande, Milan -(principal secular patron in Milan: Duke Ludovico Sforza) -Detail: note modeling from dark to light in Virgin’s drapery -Composition: pyramid -Fusion of Christian iconography and life in natural environment -Modelling forms in light and shadow; interest in optics |
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-Leonardo da Vinci, Mona Lisa (Portrait of Lisa di Antonio Maria Gherardini), c. 1503-5 (artist continued to work on it until his death in 1519), oil on wood [begun in Rome—artist was Florentine]
-Sitter: perhaps Florentine woman Lisa di Antonio Maria Gherardini, wife of Francesco del Giocondo -Unfinished; Leonardo worked on painting until his death in 1519, having taken painting with him to France -Note integration of figure and landscape through composition, line, tonality |
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-Raphael, Philosophy (“School of Athens”), Stanza della Segnatura, Vatican Palace, Rome, 1509-11, fresco, ’ [painted in Rome—artist was from Urbino]
-Plato: the divine “Idea”--spiritual, pointing towards heaven--center of painting -Aristotle: the material life of the earth--pointing down towards earth (center of painting) -language of gesture -Euclid: Geometry, (perhaps portrait of architect Bramante) -Zoroaster and Ptolemy: Astronomy -Astronomers Ptolemy and Zoroaster hold terrestrial and celestial globes. “Students” include self-portrait by Raphael -Heraclitus--Michelangelo |
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-Michelangelo, central ceiling of the Sistene Chapel, Vatican City, Rome, 1508-12; fresco; overall and details: Creation of Adam; Libyan Sybil [painted in Rome—artist was Florentine]
-Interior of the Sistine Chapel (view facing east), Vatican City, Rome, Italy, built 1473. -Figure of Adam in the center--receiving spark of life - Chapel of Pope: pictorial demonstration of Christian theology - Patron: Pope Julius II -Central section: early history of Genesis - Figures flanking central section: prophets and sibyls - Lunettes and spandrels: ancestors of Christ -origins of the world and humankind, ancestry of crisis -creation of Adam with ignudi-- 4 male nudes that take on unusual body forms--embody the spirituality through physical form -spiritual force contained within the body |
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-MICHELANGELO BUONARROTI, Creation of Adam (detail), ceiling of the Sistine Chapel, Vatican City, Rome, Italy, 1511–1512. Fresco
-Creation of Adam with ignudi -Libyan Sybil -Spiritual force contained within body -Muscles in the figures but lack of bone |
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-Michelangelo, Moses, for Tomb of Pope Julius II, Rome, c. 1513-15, marble, 7’8” high [sculpted in Rome—artist was Florentine]
-(project never completed |
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Other definitions
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-composition--way in which elements in art are arranged
-line--actual or implied lines -Color--hue, type of color -Value--light and dark -Planar--artist contracts work along a flat plane -Iconography--what is represented in the work of art -Ionic--icon that stands for something |
