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57 Cards in this Set
- Front
- Back
- 3rd side (hint)
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ROBERT CAMPIN, Mérode Altarpiece, ca. 1425-1428
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-three part panel, private use
- Iconography contains religious symbolism |
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CLAUS SLUTER, Well of Moses, Chartreuse de Champmol, Dijon, France, c.1400
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-monumental sculpture recognised as the masterpiece of the Dutch artist Claus Sluter
-prophets who had foreseen the death of Christ on the Cross (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah). -in a style combining the elegance of International Gothic with a northern realism |
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JAN VAN EYCK, Ghent Altarpiece, Saint Bavo Cathedral, Ghent, Belgium, completed 1432.
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-Central 3: Virgin Mary to the left, John the Baptist to the right, god or christ in center
-Adam and Eve, Musical angels -Mystical Lamb |
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JAN VAN EYCK, Ghent Altarpiece, Saint Bavo Cathedral, Ghent, Belgium, completed 1432. BACK
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- the Annunciation to Mary, with the Archangel Gabriel on the left and the Virgin Mary on the right.
-figures in the lunettes refer to prophecies of the coming of Christ |
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JAN VAN EYCK, Giovanni Arnolfini and His Bride, 1434.
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-portrait considered unique as it is record of a marriage contract in form of painting
-full of iconography |
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JAN VAN EYCK, Man in a Red Turban, 1433.
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-possible self portrait
-sharp and detailed analysis of physical lines |
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ROGIER VAN DER WEYDEN, Deposition, from Notre-Dame hors-les-murs, Louvain, Belgium, ca. 1435.
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-crucified Christ is lowered from the cross, his lifeless body held by Joseph of Arimathea and Nicodemus.
- work is unique in the period because of Mary's swoon shape of the crossbow can be seen in the bent and torted outline and curve of Christ's body and arched back -meant to evoke emotion |
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DIRK BOUTS, Last Supper (central panel of the Altarpiece of the Holy Sacrament), Saint Peter's, Louvain, Belgium, 1464-1468.
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-successful single vanishing point
-commissioners in other room looking inward |
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LIMBOURG BROTHERS, Très Riches Heures de Jean, Duc de Berry, made in France by Flemish artists, 1413 – 1415
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-illuminated Manuscript
-book of hours for John, Duke of Berry |
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JEAN FOUQUET, Melun Diptych, c. 1450
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-a Madonna and Child
-left-hand panel depicts the donor, Etienne Chevalier, being presented by his patron saint, Saint Stephen. -two panels are separated |
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LORENZO GHIBERTI, east doors ("Gates of Paradise"), baptistery, Florence Cathedral, Florence, Italy, 1425-1452.
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-employed linear perspective
-Ghilberti won competition against Brunelleschi to commission doors -had superior, cheaper, casting technique |
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MASACCIO, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427.
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-psychological and physical credibility
-the Expulsion of Adam and Eve from Paradise was censored with fig leaves |
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MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1428.
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- tromp l'oeil effect
-example of mathematics to pictorial organization |
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ANDREA DEL CASTAGNO, Last Supper, the Refectory, monastery of Sant'Apollonia, Florence, Italy, 1447.
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-Judas seperated
-biblical narrative and interest in perspective |
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ANTONIO POLLAIUOLO, Battle of the Ten Nudes, ca. 1465.
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-engraving
-this print is a rare one of fifty-ish |
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FILIPPO BRUNELLESCHI, Santo Spirito, Florence, Italy, begun ca. 1436.
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-made with mathematical scheme
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LEON BATTISTA ALBERTI, west facade of Santa Maria Novella, Florence, Italy, ca. 1458-1470.
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-Gothic design, contains holy trinity
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SANDRO BOTTICELLI, Primavera, c. 1482
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-an elaborate mythological allegory of the burgeoning fertility of the world
-190 species of plant depicted |
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DONATELLO, David, late 1420s - late 1450s.
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-famous as the first unsupported standing work of bronze cast during the Renaissance, and the first freestanding nude male sculpture made since antiquity.
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GENTILE DA FABRIANO, Adoration of the Magi, altarpiece from Santa Trinità, Florence, Italy, 1423.
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-portrays the path of the three Magi, in several scenes which start from the upper left corner (the voyage and the entrance into Bethlehem) and continue clockwise, to the larger meeting with the Virgin Mary and the newborn Jesus
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DOMENICO GHIRLANDAIO, Birth of the Virgin, Cappella Maggiore, Santa Maria Novella, Florence, Italy, 1485-1490.
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-humanization of religious theme
-life of the virgin |
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DOMENICO GHIRLANDAIO, Giovanna Tornabuoni (?), 1488.
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-portrays Giovanna degli Albizzi, a Florentine noblewoman who had married to Lorenzo Tornabuoni.
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FILIPPO BRUNELLESCHI, Pazzi Chapel, Santa Croce, Florence, Italy, begun ca. 1440.
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-show of power by Pazzi family
-geometric forms -no finished by Brunelleschi -cathedral chapter house |
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MICHELOZZO DI BARTOLOMMEO, Palazzo Medici-Riccardi, Florence, Italy, begun 1445.
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-commission of medici
-inspired from Brunelleschi work -round-arched colonnade first of its kind |
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PIERO DELLA FRANCESCA, Enthroned Madonna and Saints Adored by Federico da Montefeltro (Brera Altarpiece), ca. 1472-1474.
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-work represents sacred conversation, Virgin enthroned and sleeping Child in middle, saints and patrons surrounding, and patron of arts, duke and condottiero Federico da Montefeltro kneeling
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LEON BATTISTA ALBERTI, Sant'Andrea, Mantua, Italy, designed ca. 1470.
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-many elements derived from roman architecture
-believed that arches should not be used with freestanding columns as it blocked view of ceremony |
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ANDREA MANTEGNA, interior of the Camera degli Sposi, Palazzo Ducale, Mantua, Italy, 1474.
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-first perspectival view of a ceiling from above
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MICHELANGELO BUONARROTI, Ceiling of the Sistine Chapel, Vatican City, Rome, Italy, built 1473.
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-painting it was made difficult by height and curve of vault
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LEONARDO DA VINCI, Last Supper, ca. 1495-1498
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-Christ is psychological focus and focal point
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RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy, 1509-1511.
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-nearly every great Greek philosopher can be found within the painting
-grouped by field of study with Plato and Aristotle center |
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RAPHAEL, Baldassare Castiglione, c. 1514
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-depicts Raphael's friend, the diplomat and humanist Baldassare Castiglione, who is considered a quintessential example of the High Renaissance gentleman.
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RAPHAEL, Galatea, Sala di Galatea, Villa Farnesina, Rome, Italy, 1513.
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-fresco is a mythological scene
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MICHELANGELO BUONARROTI, David, 1501-1504.
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-best sculpture of a hot piece of ass since the Romans
-he forgone the mathematical methods of beauty in proportion |
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MICHELANGELO BUONARROTI, Last Judgment, fresco on the altar wall of the Sistine Chapel, Vatican City, Rome, Italy, 1534-1541.
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-not traditional way of depicting Christ, nor of placing him
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DONATO D’ANGELO BRAMANTE, Tempietto, San Pietro in Montorio, Rome, c. 1502
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- was built on site of earlier 9th-century church dedicated to Saint Peter on Rome's Janiculum hill
-According to tradition, was the site of his crucifixion. |
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DONATO D'ANGELO BRAMANTE, plan for the new Saint Peter's, the Vatican, Rome, Italy, 1505.
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-commissioned by Pope Julius II to make new, grander St. Peters
-but was not finished by Donato |
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MICHELANGELO BUONARROTI, plan for Saint Peter's, Vatican City, Rome, Italy, 1546.
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-Michelangelo took over project
-made design more cohesive and unified |
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MICHELANGELO BUONARROTI, Saint Peter's (view from the northwest), Vatican City, Rome, Italy, 1546-1564. Dome completed by GIACOMO DELLA PORTA, 1590.
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-dome was not in Michelangelo's original design
-more oval for ease of construction and greater stability |
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ANTONIO DA SANGALLO THE YOUNGER, Palazzo Farnese, Rome, Italy, ca. 1530-1546. Third story and attic of inner courtyard by MICHELANGELO BUONARROTI, 1548
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-fully expresses clssical order, reguarity, simplicity, and dignity of the High Renaissance style in architecture
-constructed to be a avish private palace for Pope Paul III |
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JACOPO DA PONTORMO, Descent from the Cross, Capponi Chapel, Santa Felicità, Florence, Italy, 1525-1528.
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PARMIGIANINO, Madonna with the Long Neck, ca. 1535.
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BRONZINO, Venus, Cupid, Folly, and Time (The Exposure of Luxury), ca. 1546.
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BRONZINO, Portrait of a Young Man, ca. 1530s.
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TINTORETTO, Last Supper, Chancel, San Giorgio Maggiore, Venice, Italy, 1594.
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GIOVANNI DA BOLOGNA, Abduction of the Sabine Women, Loggia dei Lanzi, Piazza della Signoria, Florence, Italy, completed 1583.
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MICHELANGELO BUONARROTI, Laurentian Library, Florence, 1524-34; staircase 1558-59.
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ANDREA PALLADIO, Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca. 1566-1570.
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ANDREA PALLADIO, San Giorgio Maggiore, Venice, Italy, begun 1565.
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GIOVANNI BELLINI, San Zaccaria Altarpiece, San Zaccaria, Venice, Italy, 1505.
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GIOVANNI BELLINI and TITIAN, The Feast of the Gods, 1529.
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TITIAN, Madonna of the Pesaro Family, Santa Maria dei Frari, Venice, Italy, 1519-1526.
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TITIAN, Meeting of Bacchus and Ariadne, 1522-1523.
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TITIAN, Venus of Urbino, 1538.
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HIERONYMUS BOSCH, Garden of Earthly Delights, 1505-1510
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MATTHIAS GRÜNEWALD, Isenheim Altarpiece, center shrine carved by NIKOLAUS HAGENAUER in 1490, from the chapel of the Hospital of Saint Anthony, Isenheim, Germany, ca. 1510-1515.
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ALBRECHT DÜRER, Four Apostles, 1526
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LUCAS CRANACH THE ELDER, Allegory of Law and Grace, ca. 1530.
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