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48 Cards in this Set
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Andrea del Verrocchio, Portrait of a Lady with Flowers, late 1470s - carved in marble - thought to be one of Lorenzo de' Medici's mistresses -- a fable - personal, private commission - flowing, diaphanous gown - gifted enough to show her hands, technical ability -- most sculptors cut off below shoulders - at one point it was in the Medici Palace |
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Andrea del Verrocchio, Bronze David, 1470s - the Medici commission for the Medici Palace - by mid 1470s it was sold to the town hall - David was symbol of the Florentine republic -- how could you have this in your house? Medici eventually got nervous - he knew Donatello's Bronze David - more aware, triumphant, taunter, contrapposto, clothed - Donatello has died, he is one of the only sculptors left - like Donatello he goes north, but to Venice |
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Alessandro Botticelli, Adoration of the Magi, early 1470s - Santa Maria Novella - Gaspare del Lama, the commissioner, pointing to himself - also called Epiphany, Feast of the Three Kings - not a Medici commission but a Medici honor - three kings are members of the Medici family - working in a linear way; bright, enameled colors - Botticelli paints himself in the lower right corner |
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Alessandro Botticelli, Camilla and the Centaur, 1482 - Camilla, a goddess of the hunt - her pose like Verrocchio sculpture - may have been done for the wedding of Lorenzo di Pier Francesca de' Medici to Semiramide d'Appiand - all mythological paintings but one in Florence are Medici commissions (private commissions) - diaphanous dress, diamond rings are Medici symbols; as are laurel (Lorenzo) - centaur = unbridled male lust - pictures female power in a relationship - flatter in stance; ethereal, pretty background - in wood panel - recycled poses, not considered copying but respect |
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Alessandro Botticelli, Venus and Mars, 1483 - patron: Vespucci (domestic, private commission) - Mars: god of war; Venus: goddess of sexual love; seders - long wood panel - possibly part of domestic wedding chest - spalliera - Venus fully clothed, reclining, gazing at Mars - mischievous seders playing around Mars - like previous work it favors the woman - idealized honey blond, diaphanous (filmy, flimsy) dress but no Medici symbolism -- he's developing this type - landscape is placid (paintings for marital purpose) |
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Alessandro Botticelli, Primavera, 1482 - commissioned by Lorenzo di Pierfrancesco de' Medici for same wedding - blue, cold, north wind: Zephyr, grabbing Chloris (plants in mouth, rapes her) who transforms into Flora - Venus, her son Cupid above - three graces, subject from classical Greek and Roman mythology - Mercury at the left - Venus wearing clothes of later 15th century merchant, not the traditional naked Venus - large wood panel -- headboard? - quintessential honey blond of Botticelli in graces, filmy dresses - bronze David influence (Donatello's) - clear, charming, dreamy, lyrical mood |
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Alessandro Botticelli, Birth of Venus, 1484-1486 - Medici commission - linen canvas (meaning it was meant to be in a villa) - golden highlights - Venus represents the concept of time - wind god blowing roses, holding a nymph (minor female diety, immortal) - Venus being blown to shore of her island, Cyprus, in the Mediterranean Sea - Characters: Venus of Modesty (culmination of idealized honey blond) in classical pose (Massaccio's Expulsion has Eve in the same pose, Fra Filippo Lippi is the intermediary; Eve sinned sexually) - in Lorenzo's Florentine Rule of late 15th century this painting was accepted - paintings owned by secondary Medici members (not Lorenzo) so they weren't destroyed |
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Alessandro Botticelli, Annunciation, 1489-1490 - one model is his teacher, Lippi - sense of tension, stress; tranquility is gone - linear, two-dimensional - intermediary work: Donatello's Annunciation - by late 1480s there is an overall quality of anxiety, agitation due to Savonarola being hung and burnt alive in town square |
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Alessandro Botticelli, Calumny of Apelles, 1497-1498 - made as a gift to a banker friend - King Midas, ignorance and suspicion whispering into his ears; ignorance, slander, deceit, fraud, hatred - woman wearing black and white of Dominican order; space between; penitence (a reference to Savonarola, looking for truth, doesn't want negative attributes) - truth pointing to the heavens - calumy = slander, against painter Apelles - last of honey blond nudes - small, on wood but powerful commentary on Florentine situation - hope coming out of this painting |
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Alessandro Botticelli, Mystic Nativity, 1500 - stops painting for final 10 years of his life - Joseph, Madonna, Christ Child - faith, hope, charity; theological virtues; wearing green, white, rose, become colors of Italian flag - inscription in Greek - the sun is shining again; becoming calmer again; atmosphere, quality of the mood - dancing figures reappear - final known major painting, in best shape - art after 1500 becomes old-fashioned - grander style that replaces it is world of Michelangelo, Raphael, Leonardo; abandoned increasingly linear art; Medici still in exile until c. 1515 |
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Andrea del Verrocchio and Leonardo da Vinci, Baptism of Christ, 1468 or 1471 - "High Renaissance" - for the monks in the Church of San Salvi (now a sane asylum) - altarpiece, primarily painted by Verrocchio - wood on panel - hands of God above; Jordan River - Leonardo painted background: emphasizes line, working with light and dark (chiaroscuro), emphasizes rocks and water etc., smoky athmosphere - modeled statue in slip and then painted them - Verrocchio's angel (on the right) is almost wooden in comparison - a new way of seeing the land - not favored by Medici -- one of the biggest problems he faced -- but found market in Milan |
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Leonardo da Vinci, Annunciation, 1472-1475 - first surviving painting as individual - in monastery outside Florence: Monte Olivetto Maggiore - angel Gabriel and Madonna - view into 15th century castle and Madonna's bedroom - landscape, enclosed garden - interested in anatomy, botany, hydrology - the brown is not original - Madonna rather large but modeled harmoniously: monumental, balanced figures are a characteristic of High Renaissance - attention to detail modeling figures with Madonna's dress; NOT emphasis on line, rather modeling in light and shade, clear and dark - COMPARISON to Botticelli's Annunciation - drawing, technique are worlds apart - Botticelli: "through the window," 1pt linear perspective, Florentine tiles, inside looking through, Florentine line - Leonardo: Madonna outside in "virgin garden," disregard for line |
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Leonardo da Vinci, Portrait of Ginevra de' Benci, 1474 - cut down below shoulders - intellectual woman - back: her motto, "beauty adorns virtue" - full-face; usually side view of women (hair pulled back, blonde, etc.) - from a wealthy banking family, educated - commissioned for wedding or by admirer (private) - we get a sense of her character; Mona Lisa comes out of this - Ginerva = juniper, juniper bushes are behind her - he painted with his fingers, fingerprints are visible - would not have been hung on a wall because of the importance of the motto on the back - comparison to Verrocchio's sculpture with her hair and hands |
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Leonardo da Vinci, Adoration of the Magi, 1481 - the beginning of his great unfinished works; abandoned it to go to Milan after about 8 months - commissioned for San Donato a Scopeto monks - altarpiece - monks never had it destroyed - use of different psychological states - pyramidal composition; compositional device expands in Milan - detail of horses, grotesque faces, sketch of ruined buildings - possible self-portrait |
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Leonardo da Vinci, Madonna of the Rocks, 1483 - Leonardo in Milan in the beginning of 1482; goes from merchant Florence to the court of Milan and leaves when French invade - beginning of his problems with unaccepted art - patron: Confraternity of the Immaculate Conception in their chapel San Francesco Grande - they stipulated in their contract that they wanted angels and prophets, and Leonardo ignored both; no cross, no religious attributes, no halos - modeling with light and dark; shadows, smoky landscape background, much more developed - growth of compositional pyramid (started with Adoration); grandeur, increasing sense of grandiosity - abandoning linearity of Florence, focusing on how light influences how you see people - conceives characters with a different sense of light - first important commission - worked within the Court of Lord Ludovico Sforza, had a steady income within this court |
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Leonardo da Vinci, Last Supper, 1495-1497/98 - changes the history of art - Refectory of Dominican church of Milan, Santa Maria delle Grazia - patrons: Duke Ludovico Sforza and wife Duchess Beatrice l'Esta; they would be buried here, close to their Sforza Castle - never learned proper fresco painting, experimented with materials; began to deteriorate within his own lifetime; a very damaged work as it was near the steam of the kitchen - inaugurates High Renaissance: grandeur, balance - linear perspective, balanced, mathematically plotted figures - changes the moment of the narrative with Judas on the same side of the table - mathematically placed, choreographed in 4 groups of 3 - nobody was offended by the change in composition; Leonardo makes it understand the scene, it was an immediate sensation |
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Leonardo da Vinci, Mona Lisa, 1503 - Lisa di Antonio Maria Gherardini - Mona is abbreviation of Madonna, "my lady" - 24 years old, 2nd wife of Francesco del Giocondo (for himself) - 2nd full-face portrait - fills space; calm, assured disdain; free from monetary worries; "antique smile" - seated against one of the great landscapes; idealized, artificial, romantic - he is unsatisfied by it; ends up in his luggage and the French buy it - simply dressed but not poor - related to Portrait of Ginerva de' Benci - fame comes from the theft of the painting, Italian anarchist brought it to Italy (1912-1913); it was a cultural icon |
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Leonardo da Vinci, Madonna and Child with St. Anne, 1508-1513 - commuting between Florence and Rome - St. John is the lamb, Madonna's mother St. Anne - balanced composition - monumental composition, figures becoming larger - one of last great landscapes - St. Anne's enigmatic smile |
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Michelangelo, Madonna of the Stairs, 1489-1492 - marble relief, unfinished - for Lorenzo the Magnificent, in Medici Palace - carves as if he were painting - very large Madonna, nursing muscular Christ Child, wingless angels - influence of Greek and Roman sculpture - first surviving work that we have |
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Michelangelo, Battle of Lapiths and Centaurs, 1492 - world of Greek and Roman antiquity - deeper relief, still marble - influence of anatomy, musculature - beautiful male bodies - unfinished Carrara marble - marvelous that both reliefs have survived - centaurs out of control (unlike Botticelli's Camilla and the Centaur) - completely secular, nothing Christian/religious - death of Lorenzo the Magnificent in 1492 is the end of the Medici golden age and acceptance of secular works -- Michelangelo leaves and returns to his father's quarters - Piero de' Medici kicked Michelangelo out after having him build a snowman - goes to Rome and starts to receive immense patronage |
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Michelangelo, Bacchus, 1496-1497 - cardinal Raphael Riarius becomes his first major patron after he was hoaxed (bought fake excavated Cupid piece, fake antiquity) and commissions this piece - wine god - bought by Jacopo Galli, puts in sculpture garden - first surviving free-standing sculpture, major work - shifted weight, would have known Donatello's David - subjects of classical antiquity acceptable |
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Michelangelo, Pieta, 1498-1500 - only work he will ever sign - commissioned by French cardinal Jean de Bilhères who died before completion, meant to be in his tomb (burial chapel) - subject of Mary holding son after crucifixion is a northern European subject - serenely beautiful young face - tilts back holding life-size image of son - Carrara marble - gets commission for David based on this - never works like this again; how hard marble carving is; incredible balance despite being a large woman with adult man on her lap |
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Michelangelo, Doni Madonna, 1503 - one undisputed, genuine painting - in original frame, designed by Michelangelo - commissioned by Angelo Doni, perhaps for his wedding - in private room - nude men sunbathing: fascination with male bodies in Florence - "shot color" - awkward, centrifugal composition - baby St. John the Baptist (gives sense it is from Florence, he is the patron saint of Florence) - landscape background unfinished (didn't want to be a painter); while painting this, creates the David of 1501-1504 |
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Raphael, Marriage of the Virgin, 1504 - done in Perugia, meant to be in Città di Castello on altar - influenced by Perugino's piece and Christ Giving the Keys to St. Peter in Sistine Chapel - round, moon-shaped, Perugian faces; not hard Florentine faces - figures lined up, central architecture - makes more monumental the works of Perugino; becomes bigger in terms of composition - another influence: ideal landscape by unknown artist, buildings in 1pt perspective - an absorbant person, assimilated the styles of his teacher, also Leonardo and to an extent Michelangelo |
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Raphael, Small Cowper Madonna, 1502 - incredible delicate charm, sweetness - originally in Urbino (we can tell from the landscape) - most idolized painter until the 19th century - enormously popular, unthreatening - large figures influenced by combination of Leonardo and Michelangelo - landscape influenced by Leonardo; Raphael does this but without the force - serenely beautiful, charming blondes; fills a market need for this kind of painting |
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Raphael, Maddalena Strozzi Doni, 1505 - landscape matches up with husband's portrait - she is from a wealthy banking family - Angelo Doni commissioned the Doni Maddona for the two of them - display of money with pearl, ruby, emerald - model was Mona Lisa, but an unfair comparison: Raphael dilutes it, no mystery as in Leonardo's painting; she is 15, Lisa is 24; same bands across their heads; annoyed, disgusted, no control as with Mona Lisa |
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Donato Bramante, Santa Maria delle Grazie, exterior, begun 1492 - using brick instead of marble because that's what was available in Milan - commissioned by Ludovico Sforza; destroy the altar wall, innovation is inside the structure - use of dome, open space, grandeur, freer open space - white, mustard colors - next door is the Last Supper - domes becoming increasingly important structures |
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Donato Bramante, Tempietto, 1502-1511 - in courtyard of large church complex in the hills outside Rome - close to the structure in Raphael's Marriage of the Virgin - commissioned by King Ferdinand and Queen Isabella of Spain: marks the spot where St. Peter was crucified - not an isolated strucutral idea - centrally-planned structure = domed buildings - perfectly spherical structure of the heavens |
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Michelangelo, Sistine Chapel Ceiling Frescoes, 1508-1512 - before believed the ceiling was blue with gold stars - 9 scenes from Genesis - all painted framework in imitation grey stone - Julius lived to see completion - only project Michelangelo would finish for Julius II - sense of scale will develop, get larger - showing muscular people; emphasis on line - true fresco work - sculptural style, monumental figures - had a theological advisor but executed it without apprentice help |
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Michelangelo, Fall of Adam and Eve and Expulsion, 1510 - increasingly massive, muscular snake - Masolino's comparison, influence: Michelangelo's work is reworking the story dramatically, different worlds; as well as with Masaccio's Expulsion: took already dramatic depiction and made it stronger, Adam covering his face in Masaccio to pushing away in Michelangelo - Adam in Expulsion influenced by Jacopo della Querica's work in Bologna |
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Michelangelo, Creation of Adam, 1511-1512 - creates architypal God the Father, an old man with white beard - Adam waiting to receive spark of life from God - E.T. took the finger touch from this image - antique Roman art a definite influence in Adam's pose |
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Michelangelo, Moses, 1511 - for tomb of Julius for an upper story - illusion; made to look up at it bursting out of spatial confines - tomb ends up in the Church of St. Peter of Chains, not in the Vatican, a much more modest location |
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Michelangelo, Captive (or Rebellious Slave), 1513-1516 - figure at the corner of a bottom level - struggling at the bonds of death - "idea:" each block of marble had an image and it was Michelangelo's job to uncover them - free standing tombs these two were built for turned into a wall tomb - only two sculptures were in progress when Julius dies - Tragedy of the Tomb: next pope after Julius is a Medici pope -- starts decade-long battle between Medici of Florence and Della Rovere of Urbino - immense project for Michelangelo by himself -- eventually got help but neither he nor Julius wanted this (although Julius was long dead) |
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Raphael, School of Athens, 1509-1511 - sums up High Renaissance art in many ways - Leonardo is Plato, pointing up to the heavens; a recognizable portrait of him - Euclid is Bramante, both are from Urbino - Michelangelo resented Raphael but included in front in modern dress, a form of respect - Bramante started to push for Raphael to do Sistine Ceiling but then Michelangelo stopped it; Raphael included Michelangelo only after seeing his work on the Ceiling - sums up painting, sculpture after David (huge, monumental), monumental painted architecture of High Renaissance - coffered barrel vault painted, conceived by Bramante (shapes, decorative indentation) |
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Raphael, Room of Heliodorus, 1512-1514 - using more dramatic, forceful reds - next pope inherits project - divine intervention - without the intellectual tension of Leonardo - picking up the drama more - changing program of frescoes when Julius dies: depiction of mystic light with pope dying - final wall has disguised Pope Leo X as Leo I; Leo is first of two Medici popes (1513-1523); starts the battle between Della Rovere of Urbino and Medici of Florence over Michelangelo |
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Raphael, Veiled Woman (Donna Velata), 1513 - same model as his Sistine Madonna - working in oil paint on canvas - maybe influenced by Venetians in Rome - creamy white and gold satin, amber and pearls - change of female beauty, eyebrows come back, not shaving foreheads - difference between Raphael early and Raphael Rome with Maddalena Strozzi Doni (tempera on wood) - canvas and oil become more accessible - he was a painter, never a sculptor, so he evolves, understands texture |
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Raphael, Pope Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi, 1517 - Giulio is on the left - portrait sat at table of feast when he could not attend - spending family's money - magnifying glass - not involved with each other; untrusting, skeptical of each other; looking different directions - dark background, architecture fading away - sophistication of reflection on gold orb - credited with pushing family/nephews into aristocracy |
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Raphael, Transfiguration of Christ, 1516-1520 - commissioned by Cardinal Giulio, Leo X's nephew, for cathedral in France but it never got there - his last painting, finished by Giulio Romano, one of his students - harsh, delicate, shrill quality; a new mood - balance is about to cave in - brought in as part of funeral ceremony in the Pantheon - end of an era of painting |
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Michelangelo, View from behind altar, Medici Chapel, 1519-1534 - dedicated to resurrection of Christ - burial chapel, supposed to have 4 tombs but only 2 completed - went unfinished (supposed to have frescoes on the ceiling) - stark, cold quality is unintentional - gives rise to Mannerism: artificial, unnatural style - "mano" = hand, a hand-done Florentine style - designing the dome after the Pantheon - in the Church of San Lorenzo - first architectural achievement that was built from scratch - Florentine use of geometry, gray and white motifs |
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Michelangelo, Tomb of Lorenzo de' Medici, 1519-1534 - in the Medici Chapel - dies in 1519 at the age of 28 as the Duke of Urbino; he took this from the Della Rovere; Leo took the dutchery from and gifted it to Lorenzo - an ideal portrait of him - times of day: man = dusk, woman = dawn - not put together until 1545, Michelangelo did not see it erected; it is missing the nude river gods beneath the feet |
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Michelangelo, Entrance Hall of Laurentian Library, 1524-1534, Staircase, 1559 - staircase challenges you to walk up it - library is on the 3rd floor to prevent mildew and flooding - there is a lack of logic - he is like Frank Lloyd Wright of the Renaissance, designing everything himself - narrow, crammed space; books are chained in order to prevent theft - unfinished; never did the rare book room with the labyrinth design - originally intended the staircase to be in walnut, instead it is in grey limestone - windows lead nowhere - tension of space, unwelcoming - 1527-1530: Siege of Florence and the 3rd Medici exile; they come back as Dukes in 1530 |
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Michelangelo, "Blockhead" Captive, 1527-1528 - style becomes more massive - this is what he does when he is in hiding and can't work for the Medici - the face melts out of the block - he always starts with the torso area - because they're unfinished, they represent what you're not supposed to see; the "idea", the figure emerging from the block - he is an old man who still has the ability to carve - twisting, turning, writhing - for Pope Julius's again revised tomb |
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Michelangelo, Victory, 1527-1528 - on the right corner of the tomb - all one block of marble - victory over death, giving his knee to the image - flowing, serpentine line; S-curved pose - "la victoria" should be a female - Michelangelo got away with a male figure, an allegory even though it is incorrect linguistically - anti-natural, artificial; "mannered" - crooked finger - everyone felt like they had to answer this as artists - it ends up in the Palazzo Vecchio as a gift to the Medici Grand Dukes, a political gift - the sculpture was meant for the Della Rovere (Julius was their pope) but it becomes a symbol of the Medici - 1530 starts the Medici Absolute Rule with dutchery; Michelangelo doesn't want to work for them and goes to Rome in 1534 until 1564 - courtly style; hide emotions behind masks - no need for this pose; also displays his talent as a sculptor |
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Michelangelo, Last Judgement, 1536-1541 - back in Rome from Florence after nullifying contract; self exiled - Sistine Chapel dedicated to Assumption of the Virgin; originally had this as the subject as a drawing for the altar by Perugino - Pope Paul III Farnese (Roman family); last Michelangelo commission; Paul is no longer a Medici pope, they are now dukes in Florence Pope Paul assumes the commission from the deceased pope - blue tones evolved after cleaning - it dominates the altar wall - no encircling frame; free use of space, hovering figures - new cannon of human proportion, huge figures - Mary included which isn't normal - painted male/female figures in nude -- censored in 1465 - catholic, protestant reformation - holding filleted skin of Michelangelo, dangling it over hell; he is worried about his own death and salvation of his soul - demons being pulled into hell - also a reaction to the Sack of Rome - not enameled, placid style of Florence or painted grey structure of the ceiling - becoming an unbalanced world -- just like how their life is falling apart - not everybody liked it, especially chamberlain Biagio da Cesena - he criticized the nudes, such images better suited for bathroom than the site of the pope; Michelangelo responded with including statue with snake modeled after Cesena; pope supported his artist, said "my authority runs on heaven and earth, not hell" |
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Michelangelo, Conversion of St Paul, 1542-1545 - in Pauline Chapel (Pope Paul's private chapel in the Sistine Chapel) - Paul III lived to see its completion - loose style of painting; softer pastel colors - in his 70s, he doesn't have the same manual dexterity anymore; one of his last frescoes - portrait of aged Pope Paul on the ground - same large figures but not longer control of Raphael in Room of Heliodorus from 1512; a complement to fallen figure and equestrian image - referring compositionally to an earlier era -- he doesn't have it anymore; the landscape is floating, swatches of color, awe and fear |
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Michelangelo, back view of St. Peter's, 1546-1564 - papal architect - greek cross plan of Bramante, flowing space - triumphal monumentality - monumental attached columns - grandiosity of papal Rome - stiffness gone - model of dome is Brunelleschi's dome in Florence - ribbed structure - wasn't onsite, on horseback talking to masons and architects |
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Michelangelo, Pieta, 1547-1555 - starts building for his own tomb, his own salvation - unfinished - a later self portrait, either Nicodemus (at Christ's crucifixion) or Joseph of Arimithea (gave up tomb for Christ) - no longer Madonna supporting Christ, now man is supporting; emphasis on him - attacks his own work; destroys Christ's left leg - changes in self portraitism of filleted skin, now a venerable man supporting crucified Christ and not a damned demon - elegance of Carrara marble Pieta changes |
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Michelangelo, Pieta, 1554-1564 - more and more unfinished - Christ sliding off lap; curves completely - his last work - his pity now, his "pieta" |
