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77 Cards in this Set
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Cimabue |
one of the first in the Italo Byzantine style |
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Madonna Enthroned with Angels and Prophets Cimabue: one of the first in Italo-Byzantine style gold background, no setting, takes out of time and space, architectural frame, 2d space (stacking angels as well as placing in front) - Byzantine influences Chrysography - gold writing. abstract representation of drapery, on Madonna |
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Giotto di Bondone - Proto-Renaissance style within the Italo-Byzantine style Madonna Enthroned Gold background - Byzantine influence throne related to space more cohesively, arch created 3d space has ground line - angels kneeling on it to emphasize abandoned chysography for modeling - catenary (chainlike) folds - knees holding drapery up |
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Giotto di Bondone Arena Chapel (Cappella Scrovengni) Proto-Renaissance style fresco painting technique: used exclusively for walls |
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Giotto di Bondone Arena Chapel (Cappella Scrovengni) Proto-Renaissance style Lamentation - monumental, catenary folds shows figures from the back - new idea creating naturalistic space draws eyes to christ, all eyes focused, rock slope |
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Simone Martini proto-renaissance Annunciation compare to lamentation Archangel Gabriel announces to Virgin Mary that she's pregnant heavenly golden background, small space created not prominent created elegant, aristocratic space, contour lines, drapery. more abstract |
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Masaccio Holy Trinity, Santa Maria Novella, Florence, Italy. Fresco early Renaissance style skeleton on sarcophagus "you are what i once was, i am what you will be" - concept of mortality Christ above it redeeming from mortality - hierarchy space wise developed perspective technique |
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perspective technique |
one point perspective - creation of linear space Orthogonals - lines that are supposed to meet at right angles and recede into space Horizon line Vanishing point - on the horizon line, point at which orthogonals meet |
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Lorenzo Ghiberti east doors (Gates of Paradise) baptistery, Florence, Italy early Isaac and his Sons, one panel of the doors uses architectural framework and one point perspective to create illusion of space three basic scenes divided by frames of doors |
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Royal portal, West Facade, Chartes Cathedral, Chartes Jamb statues that flank doors Old Testament kings and queens 1145-1155 |
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St. Mark, Or San Michele, Florence Donatello early italian renaissance compared to Royal Portal reinvented architectural sculpture - free standing, creates bulk, more naturalistic knees seem too low, calves seem to too short, designed with viewpoint from below in mind created physical space for it and projection of mortality |
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Da Vinci |
called Renaissance man: breadth and depth of knowledge, didn't think primarily as an artist early italian renaissance |
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Landscape Da Vinci drawing from his notebook observation of nature |
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Star of Bethlehem Da Vinci drawing from his notebooks detailed flower study |
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Fetus and Womb Da Vinci dissected corpses, showing observation of dissection of fetus in uterus with notes |
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Scythed Chariot and armored vehicle Da Vinci drawing from notebooks figure galloping on horse pulling wheel with blades that twirl shows work as engineer bottom shows mechanized tank - way ahead of his time |
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Youth and Old age Da Vinci from his notebooks instilled sense of philosophical meaning in contrast figures blend together, features that resemble old man looking young in the eyes, not condemning, just looking young man looking past, looking at what lies before him |
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Last Supper, Refectory of the Monastery of Santa Maria delle Grazie, Milan, Italy Da Vinci badly preserved - tried to do oil fresco gathering of apostles for the last time, announces that he is to be crucified and that an apostle is to betray him less staged, betrayer mixed in with other apostles linear perspective, horizon line and orthagonals through Jesus' forehead body creates triangular form that focuses eye painted at one end of dining hall of monastery |
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Andrea del Castagno Last Supper, Refectory, Monastery of Sant'Apollonio, Florence earlier than Da Vinci's, more standard, apostles lined up, betrayer placed on one side near viewer to distinguished St John creates mid point |
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Da Vinci Mona Losa Louvre, Paris notion of time and change in nature and place of the human in relation to that (contrast between architectural aspect - used to have columns - and wilderness with winding rivers and pathways showing passage of time - tamed and untamed) sfumato: blended edges of features so they bleed into each other - expression can't be discerned paradigm shift in portraiture of women - can see hands, no adornments, shown as her personality rather than social status |
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Piero della Francesca, Battista Aforza example of typical female portraiture of the time - shows her social status |
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Da Vinci Virgin of the Rocks chiaroscuro- catenary folds, modeled St. John's hands clasped, Christ child bessing him atmospheric perspective - detail of features fade as they get farther away - observed that as objects move into distance we don't see them as well - air creates film to make less distinct John the Baptist, Mary, and Christ child create pyramidal form in craggy, cavelike swampy area |
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Raphael Sanzio high italian renaissance Madonna in the Meadow atmospheric perspective figures create pyramidal form like in Da Vinci's in a meadow near a city - juxtaposition of man made and wilderness |
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Raphael Sanzio School of Athens, Stanza della Segnatura, Vatican Palace, Rome fresco where the pope signs things divided into halves - left side is apollo (intellectual, abstract) right side is Athena (applied arts) Plato with features of da Vinci Aristotle in the middle linear perspective |
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Raphael Sanzio Disputa (Disputation of the Holy Sacrament) Stanza della Segnatura, Vatican Palace, Rome fresco shows michelagelo as a stone mason |
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Michelagelo high italian Doni Madonna Uffizi, Florence Italy compare to Madonna in the Meadow and Virgin of the Rocks Mary, Joseph and Christ child - holy family - composition similar because it's mary surrounded by figures juxtaposition of foreground and middle ground (no smooth transition), uncertainty of what the relationship is Figures more interconnected and complex than ^^ foreshortening on Mary doesn't use natural colors |
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Michelangelo David marble sees sculpture as freeing the figure that's already within holds stone in one hand, sling over shoulder, contemplation before battle chiastic comp - compare to Doryphorus - david not quite as balanced, emphasis on head turned and looking large hand, way he turns it shows power and control but anxiety still within potential for perfection of man in structured universe before battle highly idealized |
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Michelangelo Sistine Chapel ceiling holy section and lay section altar and far wall focal point theme of ceiling and end wall: creation, fall and redemption of man |
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Michelangelo Last Judgement, Altar Wall of the Sistine Chapel, Vatican, Rome ethereal lack of structure to composition, amorphous in contrast with ceiling figures bunched up, no sense of individuality Christ floating in middle St. Bartholomew holding knife below Christ and skin of his body in the other hand - face self portrait |
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Michelangelo Vitruvian Man from notebooks idea from thinker Vitruvius that the ideal man could be proportioned in a circle perfection of man in geometric structured form |
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Caravaggio The Deposition of Entombment Baroque foreshortened arm - creates more direct relationship between viewer and art |
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Caravaggio: The Inspiration of Saint Matthew St. Matthew receiving inspiration for gospels from angel foreshortening of stool point of table, book sticking out creating sense of immediacy tenebrism: extreme chiaroscuro (light dark, use of shading and modeling - creates dramatic effect) |
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Carravagio - St Matthew first version baroque refused by church because it seemed to demean him appears oafish, uneducated |
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Caravaggio baroque Death of the Virgin, Louvre, Paris brutal figure of bloated corpse, head tossed to one side, limp, dead neck model was prostitute fished out of the river homely looking apostles surrounding used earthly models - reaching out to everyday people |
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Gianlorenzo Bernini David Baroque during the scene, about to loose rock shows dynamism of church and power of God through dynamism of scene counterforce, body twisted one way arm coming opposite way depicts moment in between two motions - moment of balance (discobulus) |
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Gianlorenzo Bernini Apollo and Daphne Baroque period of flux and change sense of transformation - daphne turning into tree daphne - nymph in the woods dedicated to purity and virginity, Apollo spies Daphne, wants to sleep with her just as he grabs her she appeals to father who turns her into laurel tree |
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Carlo Maderno St. Peter's Rome baroqu coerced into changing Michelangelo's plan Bernini designed Piazza of St Peters simplicity filled with dynamism - leaves semi circular arms wide open as if they're physical arms reaching out to enfold populace straight lines point in a bit - makes coming to the church seem grander |
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Francesco Borromini baroque San Carlo alle Quattro Fontane, Rome fountains in all four corners, tiny church next to one fountain dynamic effect of facade uses colossal order of Michelangelo |
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Francesco Borromini San Carlo alle Quattro Fontane dome Rome combines centralized church plan and basilical church plan by using oval - hint of a nave with emphasis of apse opposite vertical, centralized axis focusing on dome dome: white coffers, sunken areas illuminated by windows opposite base, image in center is dove (spirituality) arch gets heaver, darker as you go down |
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Baroque Rococo Neoclassicism |
Baroque: 17th century, dominated by centralized power and religion Rococo: first half of 18th (rough shell of pearl, exquisite, pretty, but irregular) reaction against period that preceded it Neoclassicism: second half of 18th century - the enlightenment, french revolution rebirth of Renaissance which is rebirth of classical greek |
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Jules Hardoun Mansart, Charles Le Brun and Andre Le Notre, Palace of Versailles, Hall of Mirrors, built by and for King Louis XIV baroque embodiment of divine right of king long, formal, extravagant, costly barrel vault classical orders in multicolored marbles (symbol of authority) windows overlooking gardens, mirrors reflecting view clear wall and entablature |
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Nymphenburg Palace, Munich, Germany expression of power through dominant architectural form baroque |
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Amelienburg Nymphenburg Palace, Munich, Germany Rococo smaller, pale blue, delicate, calm no entablature, no classical orders walls merge with ceiling silver tones rather than gold circular form - never ending movement, not distinct where wall and ceiling end/begin - melded together |
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Antoine Watteau Pilgrimage to Cythera rococo sense of reverie, carefreeness, intimacy aristocrats dressed in finery, couples paring off to sail off to Cythera (Aphrodite's island) sailboat has no sails, going to fly and cupid will take them |
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Jean-Honore Fragonard, The Swing Rococo lush, overflowing garden young man looking up skirt of betrothed who slings off slipper man in clerical garb roped into helping cupid statue putting finger on mouth to say shh |
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Jacques-Louis David Oath of the Horatii neoclassical anticipated the change in the air of revolution large scale event in roman history 3 arches which comprise 3 sections, different narratives in front of each horizonal very little movement into space similar to a frieze |
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Jacques-Louis David The Death of Marat neoclassical working from bath due to skin disease knife he's been stabbed with laying on ground Enlightenment - contemporary events are as important as past arm position similar to images of Christ horizontal composition Baroque motif of piece of paper tipping into viewer space |
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Northern Renaissance |
1400-1500 artists became identified with personalities and individualities grew out of miniaturist tradition, lots of detail emphasis on body women with protruding abdomens |
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Limbourg Brothers, October from Les Tres Riches Heures du Duc de Berry France northern renaissance manuscript illumination, prayer book miniaturists depicting normal activities during month of October, overlooked by aristocracy seeds being eaten by cows immediately after sowing |
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Jan van Eyck Giovanni Arnolfini and his Bride Netherlands nothern renaissance introduced oil painting depicts new class of people (merchants), church wasn't the only patron shows actual vow taking dog symbol of fidelity wedding bed symbolized fruition of vows large abdomen characteristic of fashion her on inner side (domesticity) him on outer single candle symbol of god watching over van Eyck reflected in mirror |
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Jan van Eyck Ghent Altarpiece St. Bavo Cathedral Ghent, Belgium northern renaissance Polyptych - sat behind altar closed - devotion of two patrons open - humanities redemption through christ- lamb on altar sacrificing himself mary on the right, st john on the left choir of angels outside, adam and eve on far outside**** god has tiara of pope and king |
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Rogier van der Weyden, Deposition center panel of a triptych Northern Europe/renaissance removal of christ off the cross blue robe=mary no landscape/background, very little depth, compression of figures in shallow space to increase impact of emotional scene mary and jesus in virtually same position gold background |
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Matthias Grunewald Isenheim Altarpiece from the chapel of the Hospital of Saint Anthony Isenheim, Germany northern renaissance bottom part lamentation of Christ prior to tomb extreme suffering of christ reflecting those in hospital expressionistic - exaggeration of natural form to evoke an immediate emotional reaction |
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Albrech Durer, Fall of Man High Renaissance archetype of classical Renaissance art looking for ideal set of proportions engraving - etched lines filled with ink and printed on paper, beginning of distribution of art |
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Albrech Durer Four Apostles monumental size |
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Southern Renaissance: Proto Early Italian High |
1300-1400 1400-1500 1500-1520 |
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fresco |
look it up |
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Donatello David early italian renaissance shoes & hat emphasize nakedness standing on goliath's head sexuality emphasized (feather) contrapposto feminine, triumphant prepubescent adolescent |
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Bronze Doors of St. Michaels church Romanesque Hildesheim Germany large scale each door cast from single piece left door show genesis starting with the top right door shows life of jesus starting at the bottom |
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Bronze Doors of St. Michaels Church Hildesheim, Germany Expulsion of Adam and Eve detail |
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St. Michaels Church Hildesheim Germany gateway into Romanesque period abandoned basilical plan |
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Basilica of S. Apollinare Nuovo 504 compare to Romanesque churches timber construction flat ceiling clerestory |
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st sernin Romanesque Toulouse, France no longer has flat timber ceiling stone, long barrel vaults outer aisles allow people making pilgrimage to walk around without disturbing middle clerestory only illuminates inner aisle - can't put windows on shoulder for structural stability |
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St. Etienne Caen, France Gothic groin vaults with ribs - directly distributes weight from roof down clerestory therefore allowed to light nave again sexpartite pointed ribbed vault transverse arches - ones that go all the way across bay system: repeated pattern height equal to width of arch |
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romanesque - round rib vault vs gothic - pointed rib vault romanesque emphasizes strength and stability of church gothic emphasizes triumphant and transcendent spirit of the church |
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chartres Cathedral france gothic high, quadripartite ribbed vault increased sense of overall movement clerestory |
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Amiens Cathedral gothic france higher nave vault proportions narrower, quadripartite bay became narrower more space dedicated to clerestory - dependent on columns and quadripartite pointed rib vault |
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amiens cathedral flying buttresses gothic france carry weight and bring it downward - has to be offset from building so it doesn't interfere with windows |
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st etienne, france romanesque flat, emphasis on wall/stone |
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Chartres Cathedral gothic flying buttresses introduced lacelike effect |
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Ameins Cathedral gothic |
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university of virginia thomas jefferson charlottesville neoclassical reminiscent of pantheon |
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Sistine Chapel Ceiling Creation of Adam Michelangelo High Italian Renaissance transference of energy represented by convex form of god's cloak and concave form of adam and through the powerful wrist of god and not of adam heroic form of adam line of sight between god and adam sagging belly of adam represents understanding of what's underneath skin |
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Fra Andrea Pozzo Glorification of St. Ignatius Rome Baroque ascension foreshortening |
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Michelangelo calling of st matthew rome high renaissance |
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Romanesque Gothic |
1000-1100 1100-1400 |
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ecstacy of st theresa baroque bernini coronaro chapel rome |
