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38 Cards in this Set
- Front
- Back
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Arriccio |
Fresco Technique Rough coat of plaster |
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Intonaco |
Fresco Technique Smooth layer of plaster |
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Cartoon Transfer |
Fresco Technique |
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Buon Fresco |
Fresco Technique Good fresco. First two hours too wet, next four perfect. |
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A Secco |
Fresco Technique Dry fresco, would require glue, time to put on gold. |
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Contraluce |
Looking into the oncoming light
Used in reference to the ancestors of Christ in Sistine Chapel. |
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Cangiante |
Changing
changing colors, bold and brilliant color scheme. Used in reference to the ancestors of Christ in Sistine Chapel. Bright because you're looking at them with sun in eyes. |
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Figura Serpentinata |
Figure like a snake, like a flame, twisting, turning, thinning at top.
Example: Galatea, Raphael, 1513 In response to Birth of Venus 1485, beautiful figure in structured setting. Figure Serpentinata breaks out of this. |
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La Maniera |
style. in the manner of.
implies: going against idea. that there isn't a universal style. Art for arts sake. Medici's answer to new public art, for political sake. signal of new age and new Medici rule. classical language pertains to Florentine Republic (like David) could be: extension of Ren ideas, rebelling against Ren ideas, lack of first rate artists, an uncertain time w/ sack of Rome, turning away from religious images to secular imagery, or even more deeply felt religious imagery |
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Non-Finito |
Not Finished
Michelangelo is to Non Finite as Leonardo is to Sfumato. On purpose: The Atlas Slave, Dusk, Victory ? Abandoned: Madonna and Child (1521-34) idea matters more than the execution. goes on to create revolution in art and aesthetics. |
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Di Sotto In Su |
Looking at something from below, a dramatic shortening
(discussed in relation of the sistine chapel ceiling, Creation of Adam) |
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Ascensio |
Ascension
A liberation of the human soul from the slavery of the flesh (walking from the back of the sistine chapel (world of beasts) to the world of God) |
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Laocoön |
a priest, communication from Gods. Warned the trojans not to accept the horse, so Poseidon sent serpents to kill him and his two sons.
1st Century BCE sculpture discovered 1506. Michelangelo called to repair sculpture. Revives a whole new aesthetic in antiquity, revives Michelangelo's belief that the torso is the most expressive. STRUGGLING HUMANITY (Leads to Michelangelo's Rebellious and Dying slaves 1505) |
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Belvedere Torso |
IDEAL HUMANITY
Heroic, Gods. |
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Domus Aurea and Grotteschi |
Domus Aurea: Nero's Golden House, 65 CE
discovered in 1508 Rome Grotteschi: from the grotto, taking ceiling, carving it up. Renaissance's attempt to replicate ancient Rome. (angels on boarders of art for art's sake) |
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New St. Peter's Bramante, Plan of 1506, Rome. |
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Rebellious Slave Michelangelo, 1505, Tomb for Pope Julius II, patron Twisting torso like Laocoon, almost violent |
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Dying Slave Michelangelo, 1505, Tomb for Pope Julius II, patron Looks like Laocoon's son Masculine figure turned feminine, erotic. |
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Moses Michelangelo, 1505, Tomb for Julius II, patron. Horned: Bible translated from hebrew to greek to latin, word Qaran (carrot on top, dot below first a) translated as "horn" or "ray of light". Translated wrong. "Moses' face was shining/horned." *People knew this was wrong, artists depicted him as such for recognition |
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Temptation and Expulsion Michelangelo. 1508-12. Sistine Chapel ceiling. Patron Pope Julius II. Vatican Palace, Rome. |
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Creation of Adam Michelangelo. 1508-12. Sistine Chapel ceiling. Patron Pope Julius II. Vatican Palace, Rome. God like Zeus, not rooted to ground and flies in, could be inspired by Botticelli's Birth of Venus' wind Gods. |
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Jonah Michelangelo. 1508-12. Sistine Chapel ceiling. Patron Pope Julius II. Vatican Palace, Rome. Looking up to see last Genesis panel, same as those receiving communion. Points to the next scene, Punishment of Haman (crucified, Jesus ref) |
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Libyan Sibyl Michelangelo. 1508-12. Sistine Chapel ceiling. Patron Pope Julius II. Vatican Palace, Rome. |
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Ignudi Michelangelo. 1508-12. Sistine Chapel Ceiling. Patron Pope Julius II. Vatican Palace, Rome. Nude Young Men surround every Genesis depiction. 20 total. used like visual commas in large paragraph. Similar to ancient marble statues (Belvedere torso 1st century BCE) |
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Night and Day (For Giuliano "L' Allegro": happy one) Michelangelo. 1518-34. Patron Giulio de' Medici. Tombs of Giuliano and Lorenzo de' Medici. Night: has owl, poppies, "mask of sleep", strangely muscular, sheen suggests moonlight, strange breasts to give figure ability to be better than a woman Day: head looks like it is rising up over the massive shoulder like the sun. impossibly contorted. |
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Dusk and Dawn (for Lorenzo "ll Penseroso": thoughtful one) Michelangelo. 1518-34. Patron Giulio de' Medici. Tombs of Giuliano and Lorenzo de' Medici. Dusk: non finito: deliberately leave the surface rough and in stone Dawn: veil on her head, holding w/ one hand, like emerging from mask of sleep, revealing oneself. suspended between emotions, between silence and speech. |
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Risen Christ Michelangelo. Patron Metello Vari, Rome. 1519-21. Patron wanted nude portrait, gold cloth added later. Made for niche. Stance light, looks away from viewer bc they can't look at the miracle. Cross wounds visible. Life size statue of christ trying to show us what God looks like. |
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Laurentian Library Michelangelo. Patron Giulio de' Medici. San Lorenzo, Florence. 1524. Had to construct 3rd floor. entry room: 1 1/2 stories tall. uncomfortable. column are decoration and not a support, recede into the wall. corners push out at 90degrees instead of in. windows don't show anything outside, look rectangular but are trapezoids. door to library has molding around it, signifying new space, carving "this is not a place of celebration" Library: entire room perfectly balanced, inspired by mathmatics. decorum: suitability of style to purpose, form to function. |
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Victory Michelangelo. 1532-34 Non finito. Di sotto in su. proportion usually 1/7 heads, here 1/11, and on 4ft stand. all views offer information, not clear how to view. Self portrait: old man. could have been created simply because the artist wanted to create it. Art for arts sake, creative piece. |
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School of Athens (from the Stanza della Sengatura) Raphael. 1508-12. Patron Julius II. Vatican Palace, Rome. Symmetric. Golden light. Calm. Philosophy. Representation of new New St. Peters. Apollo and Minerva statues, powerful but past, endure but in stone. Plato and Aristotle in center, P pointing upward to world of ideas, A hand out to world, knowledge gained in world/experience |
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Expulsion of Heliodorus (Stanza d'Eliodoro) Raphael. 1512-13. Vatical Palace, Rome. Asymmetric. Somber Light. Dramatic rhetoric/ expressive. Old Testament. Julius in scene: protect wealth of church, attentive to history and his job. |
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Galatea Raphael. 1513. For the Farnesina of Agostina Chigi, Rome. Figura Serpentinata, figure like a snake, twisting, thinning at top. In response to the beautiful but structured portrait/scene of Birth of Venus 1485 |
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Transfiguration Raphael. 1518-20. For the Cathedral of Narbonne. Patron Giulio de' Medici. Raphael's last piece before death. In competition with Piombo's Raising of Lazarus, Trans won. Dies on good friday, mirrors his own death an ascension, painting serves as a proxy for all other work, making him immortal. |
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Polyphemus Sebastiano del Piombo. 1512-13. For the Farnesia of Agostino Chigi, Rome. Used by Michelangelo as a proxy b/c Michelangelo has no pull with Pope Leo X. The body is like Michelangelo but the psychology is all Piombo. Forever in competition with Raphael's Galatea in Chigi's (or Peruzzi's???) Villa Farnesina |
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Raising of Lazarus Sebastiano del Piombo. 1517-19. For the Cathedral of Narbonne; Patron Giulio de' Medici. In competition with Raph's Transfiguration, lost. |
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Dead Christ Rosso Fiorentino. 1524-27 Sensual display of Christ, pubic hair never seen before on Christ. Long curved body/stance, hand lightly touching body. |
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Hercules and Cacus Baccio Bandinelli. 1534. For placement in front of the Palazzo Vecchio. First Medici propaganda work since their return to power. Story: Cacus steals cattle from Herc, he kills Cacus and shows body to public, public relieved bc he is tyrant. Here gave Peace, like Medici. Story proves that Florence is older than Rome. Justifies radically violent action to bring the public back to a peaceful life (like Medici destroying Republic) |
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Deposition Jacopo Pontormo. 1525-28. For the Capponi Chapel in Santa Felicità, Florence. 1. given elegance: linearity, sensuality, icy color 2. changing needs of the patron, the strangeness gives it its power cangiante colors: icy blue, bold combos, disturbing Dramatic gestures, communicating feeling, DECORUM: but, new: relationship between style and subject not a denial of classicism but a new look at it (like Michelangelo, does it to prove that he can) |
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