Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
147 Cards in this Set
- Front
- Back
|
Reims Cathedral, France, 1211-1275D JeanD’Orbais |
|
|
|
Florence Cathedral (Duomo), Italy,1296-1436 Dome design by Neri Di FioravanteFinished design of dome by FilippoBrunelleschi |
|
|
|
ReimsCathedral interior, France, 1211-1275 |
|
|
|
Frescosstarted by Giorgio Vasari, Italy, 1296-1436 |
|
|
|
Giorgo Vasari |
|
|
|
LimburgBrothers, New Years1412-1416 |
|
|
|
Facundus, The Fifth Trumpet |
|
|
|
Donatello, David,1430-1440 |
|
|
|
Madonna with Child 1175-1200P |
|
|
|
Cimabue,Madonna di Castelfiorentino, 1280s |
|
|
|
Cimabue,St. Francis of Assizi,1280-1290 |
|
|
|
Giotto,Lamentation, |
|
|
|
Scrovegni Chapel, Padua, 1305 |
|
|
|
Massachio, Trinity, SantaMaria Novella, Florence, 1425 |
|
|
|
JanVan Eyck,The Arnolfini Portrait 1434 |
|
|
|
Baptisteryof San Giovanni, 1059-1128FlorenceCathedral (Duomo) |
|
|
|
Brunelleschi,Sacrifice of Isaac, 1402 |
|
|
|
LorenzoGhiberti, Sacrifice of Isaac, 1401-1402 |
|
|
|
Baptisteryof San Giovanni, 1059-1128, Florence |
|
|
|
LorenzoGhiberti, Gates of Paradise, East Baptistery Door, 1425-52 |
|
|
|
Top: Orsanmichelle, 1337-1404, Florence |
|
|
|
Right:Donatello, St.George, 1417-1420. |
|
|
|
Left:Nannidi Banci,The Four Crowned Martyrs, 1409-1417I] |
|
|
|
Nanni di Banco, predella of The Four Crowned Martyrs, 1409-1417 |
|
|
|
Donatello,predellaof St. George, 1417-1420 |
|
|
|
Massachio, Trinity, SantaMaria Novella, Florence, 1425 Trompe l’oeil: Illusion tricking the eyeintoseeing a flat surface as three-dimensional |
|
|
|
LeonBattista Alberti,1404-1472 |
|
|
|
Hugovan Der Goes, Adoration of the Shepherds(Portinari Triptych) |
|
|
|
DomenicoGhirlandaio, Nativityand the Adoration of the Shepherds, 1485 |
|
|
|
SandroBotticelli, TheBirth of Venus, 1484-14869m=zpjDUE |
|
|
|
SandroBotticelli, Primavera,1484 |
|
|
|
LeonardoDa Vinci, The Virgin of the Rocks, 1485, “Sfumato”:or “smoky” describing technique of soft,shadowy transitions.“Chiaroscuro”: describing powerful contrasts betweenlight and darknessPyramidal Composition: dynamic triangular arrangement toencouragethe movement of the eye. |
|
|
|
LeonardoDa Vinci, The Last Supper, 1495-1498, Refectory of the Monastery ofSanta Maria delle Grazie, Milan |
|
|
|
Perugino,The Marriage of the Virgin, 1500-1504 |
|
|
|
Raphael,The Marriage of the Virgin, 1504 |
|
|
|
Raphael,The Small Cowper Madonna, 1505 |
|
|
|
Raphael,Madonnaof the Meadows, 1505 |
|
|
|
Raphael,Sistine Madonna, 1512Piacenzo,Italy |
|
|
|
Raphael,The School of Athens, 1510-1511, Apostolic Palace, Vatican |
|
|
|
XiaGui,Twelve Views of Landscape, 1230Song Dynasty (Southern Song style) (960-1279) Songwere pushed into southern Chinaby Jindynasty,Jin fell to the Mongols and after1276,so did the Song total rejection of color and empty space |
|
|
|
ZhangZeduan,Along the River During the QingmingFestival, 1085-1145TopLeft reproduction with your own touch, common life |
|
|
|
Zhao Mengfu,Autumn Colors on the Qiao and Hua Mountains, 1296, YuanDynasty, inthe style of Tang Dynasty (618-907 TangDynasty (618-907) was viewed as a “golden age” return to past, color and detail stamps meant ownership |
|
|
|
NiZan,The Rongxi Studio, 1372 |
|
|
|
“Literati”: |
Classof Chinese scholar-poet-bureaucrats. •Passed through elaborate literary andphilosophical educations to qualify for civil service. •Made art for each other rather than forpatrons or audiences•Held Confucian and Daoist ideals•Many went into exile (sometimesself-imposed) under the Yuan |
|
|
Colophons and Seals: |
•Colophons (in black) provided contextualinformation, poetry, other notes from the artist•Seals (in red) displayed record ofownership |
|
|
DongQichang,Wanluan Thatched Hall, 1597 |
|
|
|
Northernschool |
wastraditional and conservative,dominated by professional painters,emphasizing color, decorativeelements, technical skill |
|
|
Southernschool |
wasradical and innovative, building onSouthernSong traditions, dominated by literati, emphasizing use ofblack ink,free,expressive brushstroke, calligraphy, emotional impact |
|
|
“NorthernStyle” YinHong, Hundreds of Birds Admiring the Peacocks, late 15th-early16th, Ming Dynasty |
|
|
|
DaiJin,Returning Home LateFrom a Spring OutingMingDynasty |
|
|
|
Qiu Ying, Spring Dawn in the Han Palace, 1500-1550, Ming Dynasty: Showing Mao Yanshou northern style shows how artist is in danger and powerful |
|
|
|
Scholars’ Rock,QingDynasty, 1644-1912 eroding limestone for years |
|
|
|
Qiu Ying (1494-1552), AppreciatingAntiquities in the Bamboo GardenMingDynasty civilization in nature, social control |
|
|
|
Gardens of Suzhou, 11th-19th centuries7517 |
|
|
|
Forbidden City, 1406-1420, startedduring Ming war against Yuan |
|
|
|
MingDynasty (1368-1644)Forbidden City |
|
|
|
ShenZhou, Poet on a Mountaintop,c. 1500,Ming Dynasty |
|
|
|
Michelangelo,Sistine Chapel: Last Judgement, 1536-1541 |
|
|
|
The Fall of the Giants- Giulio Romano "The Fall of the Giants" 1530-32, Falazzo del Te |
|
|
|
Assumption of the Virgin, 1526-1530, Correggio |
|
|
|
Charbagh |
Four gardens or paradise gardens (intended to simulate gardens of Eden) |
|
|
Arabesque |
Complexdesign of, flowingfoliage and/orintertwined lines urNk |
|
|
Michelangelo,Madonna of the Stairs, 1491 |
|
|
|
Michelangelo,Bacchus, 1496-97 |
|
|
|
Michelangelo,Pietà, St. Peter’s Basilica, Rome. 1496-9756 |
|
|
|
Michelangelo,David, 1501-1504, PalazzoVecchio(begun by Agostino di Duccio~1464 for Duomo roof0C |
|
|
|
Donatello,David, 1408-1409 |
|
|
|
Donatello,Judith and Holofernes,1457-1464 |
|
|
|
Baccio Bandinelli, Hercules and Cacus, 1525-1534 |
|
|
|
1494-1512 |
Mediciexpelled from Florence as Savonarolla preaches against them. |
|
|
Michelangelo,The Creation of Adam,SistineChapel, 1508-1512\\re |
|
|
|
Michelangelo, Tomb of Giuliano di Medici, 1526-31 |
|
|
|
Michelangelo,Sibyl,SistineChapel, 1508-1512 |
|
|
|
Michelangelo,Night, Tombof Giuliano di Medici 1526-31 |
|
|
|
Raphael,St. Catherine of Alexandria, 1507 |
|
|
|
Michelangelo, Tombof Lorenzo di Medici 1526-31Fh |
|
|
|
Michelangelo, LaurentianLibrary1523-25.ForPope Clement VII1523-1534 |
|
|
|
Bramante,Tempietto, 1502-1510 |
|
|
|
Bottom Right: St. Peter’s Basilica, Dome finished in 1590 ence |
|
|
|
St. Peter’s, interior view |
|
|
|
Michelangelo,Redesigned Capitoline Hill, 1536-1546for Pope Paul III |
|
|
|
Michelangelo,Moses, forTomb of Julius II,1513-1515Slaves, 1513-1515 |
|
|
|
Michelangelo,Tomb of Julius II (1443-1513): Started in 1505, finished1545 |
|
|
|
Michelangelo,Sistine Chapel: Last Judgement, 1536-1541 |
|
|
|
Cranachthe Elder, MartinLuther, 1528 |
|
|
|
Hieronymous Bosch, Garden of Earthly Delights, Triptych, 1505-1515 |
|
|
|
Pontormo, Deposition, CapponiChapel, Santa Felicita, Florence, 1525-1528 |
|
|
|
Parmigianino,Madonna of the Long Neck, 1534-1540 |
|
|
|
Bronzino, Allegory with Venus and Cupid, 1540s |
|
|
|
AlbrechtDürer,Self-Portrait, 1500 |
|
|
|
AlbrechtDürer,Melancholia, 1514H |
|
|
|
AlbrechtDürer,Adam and Eve, 1504 |
|
|
|
Raimondi,After Dürer,1512 |
|
|
|
Titian,Venus of Urbino, 1538 |
|
|
|
disegno |
Masteryof design, drawing, line |
|
|
colore |
color,tone, paint. |
|
|
Giorgione,The Tempest, 1506 |
|
|
|
Titianor Giorgione, PastoralConcert, 1510 |
|
|
|
Benvenuto Cellini, Perseus with the Head of the Medusa, 1545 |
|
|
|
Benvenuto Cellini,Saltcellar, 1540-1543 |
|
|
|
HansHolbein the Younger, TheAmbassadors, 1533 |
|
|
|
Anamorphosis |
Imagesstretchedwith the use of a Perspectivalgrid |
|
|
PeterBruegel the Elder, Returnof the Hunters, 1565 |
|
|
|
PeterBruegel the Elder, TheHarvesters, 1565 |
|
|
|
Veronese,Feast in the House of Levi, Refectory of the monastery of S. Giovannie S. Paolo, Venice, 1573 |
|
|
|
Gianlorenzo Bernini, The Ecstasy of St. Teresa(1518-1582), 1645-1652 whole point was to make religion here in the now |
|
|
|
Qtub minar, Quwwat ul-Islam Mosque, Delhi,1211- 1236 put together by tearing apart something else symbol of power: no use |
|
|
|
UnknownArtist, Babur, 1630 Babur rules, Humayun, flees, returns and conquers, Akbar the Great, Jahangir, Shah Jahan tiny, in autobiography |
|
|
|
Unknownartist, Gardens of Babur, c. 1528 place for social gatherings |
|
|
|
Unknownartist, Babur’s Tomb, after 1528 |
|
|
|
Mahesh,Babur watching men altering thecourse of the stream, c.1590 |
|
|
|
Unknown artist, Babur on a RhinocerosHunt, Baburnama, before1530 Babur largest |
|
|
|
Animals of Hindustan, Baburnama, late16th, Scientific |
|
|
|
Mirak Miza Ghiyas, Humayun’s Tomb, 1569-70,commissioned by Akbar, sponsored by EmpressBega Begun, Humayun’s widow, Delhi,India |
|
|
|
MirSayyidAli, The Princes of the House of Timur,1550-1628 startedin Humayun’sreign, new figures added drawn by dif artists |
|
|
|
Miskina andParas, Bullocks Dragging Siege-Guns up a Hill, Akbarnama, 1589 |
|
|
|
Mukund andShankar, Rai Surjan HadaSubmitting to Akbar, Akbarnama, 1589 political statements |
|
|
|
Basawan and Chetar Munti,Akbar’s adventure with the Elephant Hawa’i, Akbarnama,1590-95 wild king who can do whatever he wants |
|
|
|
The Emperor Akbar present at an armedcontest of contending ascetics, Akbarnama |
|
|
|
Agra Fort, Akbar’sseat of power, finished 1573 |
|
|
|
Abual Hassan, Jahangir’s Dream, 1620Jahangiron the rightAbbasI, Shah of Persia on the Left passive aggressive |
|
|
|
Abual Hassan, Jahangir holding portrait of his fatherAkbar, 1614 |
|
|
|
Left:Bichtir, Jahangir preferring a sufi Shaikh to Kings, 1615-1618 political message, king not holding sword |
|
|
|
: Bichtir,Jahangir Holding a Globe, c. 1620 |
|
|
|
AbdulHamid Lahori,Shah-Jahan hunting lions at Burhapur, Padshahnama of Shah Jahan1636 subdued, more space, linear |
|
|
|
Taj Mahal, ShahJahan’s reign, 1631-1653 symbol of power and for wife |
|
|
|
Attributedto Balchand,Dying Inayat Khan, 1618-19, Jahagir’s reign |
|
|
|
Bichtir, Shah Jahan receives his eldest sons and Asaf Khan during his accession ceremonies, 1630-57 |
|
|
|
BernardoBuontalenti,Buontalenti Grotto, Boboli Gardens, Florence,1583-1593 dramatic and over the top |
|
|
|
Renaissance |
Greco-Roman Art- proportion, balance and harmony |
|
|
Mannerism |
Idealisation of Renaissance art elongation, imbalance, elegance |
|
|
Baroque |
Meeting of sacred and mundane |
|
|
Caravaggio,Madonna di Loretto, 1604-1606 |
|
|
|
Arcimboldo, Holy Roman Emperor Maximillian II ofAustriaWith his wife Maria of Spain and theirchildren, 1563 |
|
|
|
Arcimboldo, Vertumnus (HolyRoman Emperor Rudolf II), 1590-91 |
|
|
|
Arcimboldo, The Librarian, 1566gm using symbols to convey ideas very scholarly |
|
|
|
Arcimboldo, Water, 1566 |
|
|
|
Arcimboldo, Winter, 1573 |
|
|
|
Tintoretto,St. Mark’s Body brought to Venice, 1548 very dramatic, and theactric |
|
|
|
Veronese,Feast in the House of Levi, Refectory of the monastery of S. Giovannie S. Paolo, Venice, 1573 meant to be last summer but artist added their own touch |
|
|
|
ElGreco, The Burial of the Count of Orgaz, 1586-88 using biblical themes for other reasons |
|
|
|
ElGreco, The Opening of the Fifth Seal, 1608-14 |
|
|
|
Caravaggio,Conversion on the Way to Damascus, 1601 |
|
|
|
Tenebrism |
Exagerration of “chiaroscuro” where images emerge from pitch blacknessfor emphasis |
|
|
Caravaggio,The Calling of St. Matthew, 1599-1600 |
|
|
|
Caravaggio,Judith Beheading Holofernes, 1598-1599 |
|
|
|
Artemesia Gentileschi, Judith Slaying Holofernes, 1614-20 |
|
