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88 Cards in this Set
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Death of the Virgin, tympanum sculpture 1230 Strasbourg Cathedral, Strasbourg, France Significance: Anc. Roman influence (see hand and fingers through drapery; heavy drapery); Germanic fascination with extreme emotion shown through body language (think Ottonian... tilted heads, furrowed brows) |
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Equestrian portrait (Bamberg Rider) 1240 Bamberg Cathedral, Bamberg, Germany Sandstone Significance: revives equestrian imagery of the Carolingian Empire; still against a wall, but canopy doesn't actually contain him; compare to Saint Theodore: universality of courtly love motif (Theo=French); "responsive" to viewer (mid-stop/turn to see who's there) |
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Ekkehard and Uta Naumberg Master 1250 Naumburg Cathedral, Naumburg, Germany Painted limestone, approx. 6’ 2” high Significance: Uta is responsive to viewer (pulls cloak over face); light, Gothic drapery, but can see arm under it like Roman; Naumberg Master is a major artist in all of Europe --> artists traveling and developing an international Gothic style. |
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Virgin with the Dead Christ (Röttgen Pietà) 1300 Rhineland, Germany Painted wood Significance: Germanic fascination with intense emotion, really emphasized Christ's suffering as his body is so deformed, meant to the viewer feel guilty and repent, encouraging an intimate, personal relationship with the divine |
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Virgin and Child (Krumau Madonna, or Kumlov Madonna) 1400 Bohemia (present day Czech Republic) Significance: Elongated, elegant "s" curve of Gothic Schöne Madonna's, soft and gentle (fingers dimple the baby's skin); realistic portrayal of loving mother and playful/squirmish baby (rather than the stiff Byzantine depictions); emphasizes Mary's femininity and contrasts with pietàs to show the extremes of emotion; focus on spiritual intimacy in this period is shown by the friendliness and approachability of the Madonna |
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David before Saul, from the Belleville Breviary Jean Pucelle 1330 Paris, France Ink and tempera paint on vellum Significance: Quintessential illuminated manuscript page, marginalia and Biblical scenes; shows private piety (aristocrats had these commissioned so they could have an alter-ego of a private monk) |
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The Castle of Love and knights jousting, lid of a jewelry casket 1330 Paris, France Ivory and iron Significance: shows motif of courtly love, vernacular literature is making this very popular (romance and adventure novels very popular); secular art! |
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Pulpit of Pisa Cathedral baptistery Nicola Pisano 1260 Pisa, Italy Marble Significance: Anc. Roman influence (round arches, columns with figures above them and relief panels above arches); Gothic trefoils; shows both major influences of the time (Anc. Rom. and France) |
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Fortitude, from Pulpit of Pisa Cathedral baptistery Nicola Pisano 1260 Pisa, Italy Marble Significance: fusion of Anc. Rom. paganism and Christianity (Hercules & lion skin, Daniel & the lion's den: both figures represent strength, this figure represents spiritual fortitude); very shocking bc full frontal male nude in church (and genitalia/nakedness not related to sin) and bc usually virtues were shown as women, not men. |
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The Annunciation and the Nativity, from Pulpit of Pisa Cathedral baptistery Nicola Pisano 1260 Pisa, Italy Marble relief Significance: Anc. Rom. influence (heavy drapery, face and hair), Etruscan influence (reclining Virgin from their sarcophagii) |
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The Annunciation and the Nativity, panel from the pulpit of Sant’Andrea Giovanni Pisano (the son of Nicola) 1300 Pistoia, Italy Marble relief Significance: very similar to his father Nicola's, but more Gothic (light, airy, elongated figures with more space between them; more emotional figures); figures display a nervous agitation as if moved by spiritual passion" |
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Interior of Church of Santa Croce 1300 Florence, Italy Significance: Franciscan church (have a lot of money bc so popular, but trying to stay true to value of renouncing material wealth —> build it as cheaply as possible, with little ornamentation: wooden beam ceiling, one story, no flying buttresses); dedicated to the cross (emphasis on suffering); private chapels... belief in purgatory growing... helps spark Renaissance because families want to outdo each other |
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Crucifix Cimabue 1280 Tempera on wood Significance: emphasis on suffering, Franciscans got attacked for not showing the whole story/theology (resurrection, life of Jesus, etc) |
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Madonna Enthroned with Angels and Prophets (Maestà) Cimabue 1280 From Santa Trinita in Florence Tempera on wood, 12’ 7” x 7’ 4” Significance: Madonna = gentle and approachable; symbolic: drapery covered in strips of gold that shimmer in candlelight (divine, other worldly), also "teasing" foot that hangs down as if for you to kiss, but too high; scale going crazy bc artistic competition. |
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Madonna Enthroned Giotto 1310 From the Florentine church of the Ognissanti Tempera on wood, 10’ 8” x 6’ 8” Significance: Gothic architecture and architectural realism (as opposed to Cimabue's Roman style throne and architectural framing); Madonna = heavy, Roman figure; many figures have mouths open as if caught in the middle of a scene (more life-like for priest, who is the only one who would see this detail) |
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Arena Chapel (Scrovegni Chapel) Giotto 1310 Padua, Italy Significance: whole building is a private chapel (trying to save himself from purgatory... indulgences start because of the same belief); Giotto's greatest surviving work, shows his education level, his experimentation with space, his achievement in showing people's thoughts through their body language and expression |
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The Last Judgment, from Arena Chapel Giotto 1310 Padua, Italy Fresco Significance: shows Scrovegni giving chapel to the church (a priest) and being greeted by angels for his pious deed (shows the belief/rationale behind private chapels and indulgences); this is a true portrait! |
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The Lamentation, from Arena Chapel Giotto 1310 Padua, Italy Fresco Significance: intense emotion, figures with backs to viewer: allusion to Pliny's "mourning father", also invitation to put yourself into the shows of this anonymous figure |
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The Kiss of Judas, from Arena Chapel Giotto 1310 Padua, Italy Fresco Significance: psychological exploration (intense observation, smarmy expression of Judas); Judas in yellow (cowardice); exploration of space (ppl break frame, fragments of faces); shows intelligence (detail of John running out of toga off frame) |
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Virgin and Child Enthroned with Saints, front of principal panel of the Maestà Duccio di Buoninsegna 1310 Siena Cathedral, Siena, Italy Tempera on wood Significance: Madonna is more Gothic in style, but retains the Byz. mantel, also Byz symmetry and formality; Christ-child responsive to viewer, pulls clothes up shyly; replaces a very important previous altarpiece bc more pious to offer this painting to God bc better art; intricate fabrics (Siena = textile trading city, also Mid-Eastern pattern on throne = allusion to the Holy Land) |
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Back side of the Maestà: Betrayal of Jesus (Kiss of Judas) Duccio di Buoninsegna 1310 Siena Cathedral, Siena, Italy Tempera on wood Significance: Compare to Giotto: emphasis on betrayal through unnatural nature of kiss (meant to be a symbol of love and affection, but used for evil); Contrast w/ Giotto: don't break frame, everyone facing viewer, Judas wearing normal clothes (message that Judas is not an exception, anyone could have betrayed him, we all do bad things), more interest in landscape |
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Back side of the Maestà: The Washing of the Feet Duccio di Buoninsegna 1310 Siena Cathedral, Siena, Italy Tempera on wood Significance: Duccio playing psychologist, like Giotto (Peter's expression and body language; confused, in disbelief); disciple looking at viewer and gesturing to foot that breaks frame, challenge to priest (who is the viewer of this side of the work) to be a humble servant like Christ (would you wash my feet?) |
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Annunciation Simone Martini 1340 Siena Cathedral, Siena, Italy Tempera on wood Significance: centralization of the Virgin in the Christian faith at this time; like a paused scene (angel just landed, cloak still in air; Mary reacts to him, startled, shy); Mary is very Gothic (hair showing, very elongated); scene rather than just figures; artists allowed more creativity (focused on drama... words going from angel to Mary) |
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The Birth of the Virgin Pietro Lorenzetti 1340 Siena Cathedral, Siena, Italy Tempera on wood Significance: set in contemporary, Sienese house (domestication of the sacred), gold background gone; Etruscan reclining pose, heavy figure; uses panel dividers as part of architecture of painting, girl crosses panels) |
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October, from Les Très Riches Heures du Duc de Berry Limbourg Brothers 1415 Duchy of Berry (present day France) Ink and colors on vellum Significance: whole page of illustration, no text... Marginalia has left margins and entered main scene (ex: birds); showing peasant life (rather than Biblical or aristocratic scene); landscape becoming more important |
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Ghent Altarpiece (open) Jan van Eyck 1430 Sant Bavo Cathedral, Ghent, Belgium Oil on wood Significance: oil paint allows more detail and naturalism; Adam and Eve so individuated and detailed, and almost life-sized; Christ wearing crown like pope hat and has kingly crown at feet, showing that God's kingdom is greater than any earthly kingdom; using cheap materials to create the illusion of expensive jewels and gold, creates a premium on artists' skill |
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Ghent Altarpiece (closed) Jan van Eyck 1430 Sant Bavo Cathedral, Ghent, Belgium Oil on wood Significance: contemporary street seen through window (domestication of the sacred); painted sculptures (sculptures usually favored, but van Eyck showing painting's prowess as it can depict a sculpture so beautifully, but a sculpture cannot depict a painting); portraiture gaining popularity (patron and wife depicted) |
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Deposition Rogier van der Weyden 1430 Notre-Dame hors-les-murs, Louvain, Belgium Oil on wood Significance: shallow "depth" bc meant to look like sculpted box altarpiece style; focus on figure's emotion through body language, pearl-like tears (oil paint can do this); parallels between Christ and Virgin show that she fainted when he died (body position, ghostly complexion) |
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Mérode Altarpiece Robert Campin 1430 Oil on wood Significance: contemporary setting (domestication of the sacred); patron looks through door into scene of annunciation, wife there but not allowed to look bc woman (culture values close proximity to the divine); baby Jesus flying through window to Mary (allusion to Gothic theological explanation of Mary's virginity... stained glass analogy); disguised symbolism |
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The Madonna of Canon van der Paele Jan van Eyck 1430 Oil on wood Significance: people have individual patron saints (popularity of the cult of saints); scene of encounter with the divine (value of close proximity to divine through private piety, domestication of the sacred) |
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Mary of Burgundy at her Devotions, from the Hours of Mary of Burgundy Master of Mary of Burgundy 1480 Duchy of Burgundy Ink and colors on vellum Significance: shows belief in prayer and private devotions bringing you into the presence of the divine |
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MiraculousDraught of Fish, from the Altarpieceof Saint Peter Konrad Witz 1440 Cathedral of Saint Peter, Geneva, Switzerland
Oil onwood |
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Interior of the Church ofSanto Spirito Filippo Brunelleschi 1440
Florence, Italy |
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Plan of the Church of Santo Spirito Filippo Brunelleschi 1440 Florence, Italy |
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Plan of the Church of Santo Spirito Filippo Brunelleschi Designed 1434-1436, begun 1446 Florence, Italy Significance: about 40 private chapels that are all the same architecturally (architect putting his foot down as a designer and doing what he wants); used math to make is perfectly proportional (artists becoming more intellectual) |
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Brancacci Chapel Masaccio 1425 Santa Maria delCarmine, Florence, Italy Fresco |
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The Expulsion of Adam and Eve from Eden, from Brancacci Chapel Masaccio 1425 Santa Maria del Carmine, Florence, Italy Fresco Significance: both figures are Anc. Rom. inspired (Adam totally nude, no fig leaf, even though that would be more accurate; Eve's pose is like Venus pudica), but reconfigured to be Christian bc shows shame and sin |
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HolyTrinity Masaccio 1425
Santa Maria Novella, Florence, Italy Fresco 21’ x 10’5” |
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San Marco Altarpiece Fra Angelico 1440
For the high altar of San Marco, Florence, Italy Tempera on panel |
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San Marco Altarpiece Fra Angelico 1440-1444 For the high altar of San Marco, Florence, Italy Tempera on panel Significance: artist is a Dominican monk, so he is very well educated; self-conscious of old vs new style, puts a mini old-style altarpiece in his painting to juxtapose them (flat vs perspective; all gold vs landscape); perspective lines converge at Virgin's womb (painting entered on theology rather than viewer); puts traditional gold behind Virgin, but makes it realistic by adding texture and depth (textile) |
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The Birth of Saint John the Baptist Domenico Ghirlandaio 1500
Tornabuoni Chapel, Santa MariaNovella, Florence, Italy Fresco |
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David Donatello 1440 Bronze 5’ 2 ¼” high |
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Gattamelata Donatello 1440
Piazza del Santo, Padua, Italy Bronze 12’ 2” high |
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Birth of Venus Sandro Botticelli 1480 Tempera on canvas |
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Birth of Venus Sandro Botticelli 1482 Tempera on canvas Significance: return of sensuous Venus (Venus pudica pose, but still very sensual); long-flowing hair is unusual but not unheard of (sometimes shown wringing out hair in antique art); gold highlights in hair inspired by Petrarch's love poems to Laura; first full-sized female nude since antiquity. |
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Courtly Love |
the medieval motif/fascination with the handsome knight who is the perfect man because he is a strong and courageous warrior, while also being a romantic and aristocratic lover, and pledges his devotion both to his love and to the Virgin/his faith. |
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Marginalia |
illuminations in the margins of books, especially illuminated manuscripts and private devotional books |
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Private devotion |
aristocrats in this time (Gothic and on, but esp. Gothic) wanted to live privately pious lives (like a second life where they're a monk) so they often commissioned the making of private devotional books for themselves |
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Affective piety |
a style of highly emotional devotion to the humanity of Jesus, especially focusing on Mary's joy in His infancy, her sorrow after His death, and His suffering on the cross |
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Pietà |
an image/sculpture of the Virgin holding the dead Christ in her lamp or arms |
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Schöne Madonna (“Beautiful Madonna,” sometimes called in English the Fair Virgin) |
a depiction of the Madonna and Child emphasizing the joy, often in opposition to a pietà (pose = Virgin of Paris, Krumau Madonna...) |
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Illuminated manuscript |
a manuscript of the Bible (or part of it) whose pages were decorated with art (often of Biblical scenes and often including marginalia) |
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International Gothic |
as artists gained fame and traveled, the Gothic style spread throughout Europe, creating an international aesthetic/style |
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Trecento |
"300" in Italian, referring to 14th century Italy (1300's) |
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Rinascità |
"a rebirth/state of being reborn" in Italian; contemporary word for the Italian renaissance referring to the state of art and culture (not "THE renaissance, but noticing that there is a movement recalling antiquity) |
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Vernacular literature |
a new genre of literature (coming about especially in 14th century Italy) written in the vernacular, rather than Latin, that dramatically affected Italy's intellectual and cultural life by expanding the audience for philosophical and intellectual concepts because of greater accessibility |
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Maniera greca |
"Greek manner" in Italian, referring to the Italo-Byzantine painting style of the 13th century |
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Mendicant Orders (principally Franciscans and Dominicans) |
branches of Catholicism that renounced material wealth (mendicant = "beggar"). The Franciscans focused on (1) the valorization of nature/creation, (2) an intimate, loving, emotional relationship with Christ, and (3) selflessness (renouncing material wealth) The Dominicans focused on preaching and intellect, and produced many theologians and philosophers |
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Christus patiens |
"suffering Christ" in Latin. Referring to depictions of Christ that focus on his humanity by emphasize his suffering (as opposed to the triumphal depictions in which the crucifixion doesn't seem to phase Him) |
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Stigmata |
the wounds Christ recieved at his crucifixion that miraculously appeared on St. Francis (holes in hands and feet, and wound on side) |
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Etruscan |
the civilization of ancient Italy in the area roughly corresponding to Tuscany; their sarcophagii often featured a reclining woman in heavy drapery — this pose and style was imitated in many works in the Renaissance (ex: Nicola Pisano's Annunciation and Nativity relief from the pulpit of the Florence Cathedral Baptistery) |
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Usury/usurer |
the practice of lending money at unreasonably high rates of interest; this was Scrovegni's sin for which the Arena Chapel was meant to atone (and how many aristocrats at the time made their wealth, and therefore commissioned private chapels) |
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Private chapel/private mass |
see Arena Chapel |
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Purgatory |
the waiting place between Heaven and Hell in Catholic belief; very bad place, don't want to be there; private chapels and masses, and indulgences started because of this belief (funding the church is a pious act, so the church gives you an indulgence in return — which is a certificate granting time off in purgatory — and pray for you) |
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Dante, Petrarch, Boccaccio (for Petrarch, be aware of Laura,his love) |
Prominent writers of vernacular literature.... |
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Frederick II, Holy Roman Emperor |
Holy Roman Emperor who was particularly fascinated with the rebirth of antiquity and commissioned Nicola Pisano for the pulpit of the Florence Cathedral Baptistery |
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Pliny |
The artist who painted the "mourning father" which Giotto alludes to in his fresno "the Lamentation" in the Arena Chapel |
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Vasari |
15th century renaissance writer, art historian, notes innovation of renaissance; strong Florentine point of view, highly esteems Giotto and Cimabue |
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Polyptych |
a multi-paneled painting or altarpiece |
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Triptych |
a triple-paneled painting or altarpiece |
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Oil paint and glazing |
oil based paint allows more detail and effects because it requires the application of successive layers of glaze; this paint was a new technology in the 15th century |
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Disguised symbolism |
a term coined by Erwin Panofsky referring to ordinary items in art, especially paintings, that are actually symbols made to blend in |
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“Als Ich Can” |
“As/all I can,” motto of van Eyck. Pretend humility because his paintings were stunningly beautiful and realistic. |
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Book of Hours |
A Christian religious book for private devotion containing prayers to be read at specified times of the day. |
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Jean, Duc de Berry (1340-1416) |
The Duke of Berry; an avid art patron and focused on collecting manuscripts, jewels, and rare artifacts. |
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Philip the Good, Duke of Burgundy (1396-1467) |
insisted on keeping Jan van Eyck's salary up when money was tight and they lowered everyone else's because he didn't want to lose van Eyck; this shows the new respect that artists are gaining in this time. |
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Humanism |
In the Renaissance, an emphasis on education and on expanding knowledge (especially of classical antiquity), the exploration of individual potential and a desire to excel, and a commitment to civic responsibility and moral duty. |
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Liberal Arts/Manual Arts |
Liberal arts were the more respected disciplines because they required intellect (philosophy, writing...), whereas manual arts were not regarded very highly because they were regarded more as worker's work, like manual labor (these were the fine arts). |
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Votive image |
a donor portrait in a religious work in a church meant to keep the presence of the donor always in the church so that they would be looked upon favorably by God and so that other members of the church would see them and pray for them |
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Venus pudica |
"modest Venus," refers to the pose in which the nude Venus somewhat covers herself |
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Perspective |
A method of presenting an illusion of the three-dimensional world on a two-dimensional surface. |
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Villa |
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Condottiere |
A mercenary leader who develops their own army and then governments can hire them/their army. Gattamelata was a condottiere. |
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"Nympha” (Aby Warburg) |
A type of nymph from mythology, a follower of Dionysus... depicted in art as a woman with very blowy, swirly drapery. |
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Medici (particularly Lorenzo de’ Medici, “The Magnificent”) |
A rich Florentine family that effectively ruled the arts and culture of Florence for generations because of their patronage of amazing artists. They were proponents of humanism and artists who worked under their commission enjoyed the protection of their power so they could create more innovative and controversial works. Lorenzo was a humanist scholar and poet and greatly expanded the cultural influence of the Medici by founding and sponsoring multiple humanist and artistic institutions. |
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Leon Battista Alberti |
Humanist, architect, and author of On Painting (1434). He promoted the artist as an intellectual and encouraged artists to become educated and use perspective and narrative in their painting. |
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Poliziano |
A leading humanist and poet; his work inspired Botticelli's "Birth of Venus" |
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Marsilio Ficino (neo-platonism) |
An Italian humanist who wrote an influential treatise in which he asserted that artists were distinct from the population at large because they were born under the sign of the planet Saturn, named for the ancient Roman god. They shared that deity’s melancholic temperament because they had an excess of black bile (one of the four humors) in their systems. Artists therefore were “saturnine”—eccentric and capable both of inspired artistic frenzy and melancholic depression. Neo-Platonism: An ancient school of philosophy based on the ideas of Plato, revived during the Renaissance and modified by the teachings of Christianity. |
