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88 Cards in this Set
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N. Catacomb of Priscilla D. 200-400 CE P/S. Late Antique Europe; Early Christian A. Christian worshiper, specific artist is unknown OL. Rome, Italy P. Early Christians originally owned by Priscilla M/T. Tufa and Fresco F. Christian worship and to tell biblical narratives DT. Catacombs are vast subterranean networks of galleries, and burial grounds for said to be martyrs, Christians, and some Jews (earliest christians), word means in the hollows, even though there are depicted figures they ate symbolic of Jesus Christ, it is not actually him because Christians did not believe in idolizing religious figures,.anchor represents salvation, Early Christian Iconography C. Tufa was ideal because it was a soft material, tombs were horizontal shelves , many were graved robbered, secrete place to worship underground because they were persecuted, Christianity was tolerated when Constantine legalized it, earliest christian art, not many survived, idolizing gods or saints was not allowed because they wanted to separate from paganism, both Greek and Latin language inscriptions, narratives of old and new testament, teaching of Christ, om the left there is a woman in the Vail was deceased where we see her getting married by a bishop, on the right we see her seated in a chair nursing a child, reference to her marriage and motherhood, in the middle the women is in prayer pose meant to represent the woman in afterlife, the women resurrected, represented the hope that they would be worthy of salvation, shallow below her chin represented illusionism and face was depicted naturalistically, Christ was symbolic of a Shepard because he was believed to care for his followers as a Shepard would do to his sheep
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N. Santa Sabina D. 422-432 CE P/S. Late Antique Europe; Early Christian A. Christians residents of Rome OL. Rome, Italy P. Constantine M/T. Brick and Stone, Wooden Roof F. christian worship DT. Constantine legalized Christianity, repurposed pagan architecture, government building, dominant central axis, that leads from the entrance of the apse, the site of the alter, walls were originally decorated with mosaics, light was a symbol of divinity, and Christ , opulent interior, C. Large number of people could gather, gives a sense of what the original St. Peter's Basilica realistically looked like, pilgrimage sight, carved wooden doorway craved with scenes of the old testament (normally wodden pieces don't survive) special because depict crucification , lit by windows of Jimpson, flat ceiling, the columns have arches with repurposed pagan columns , transept signifies the cross, the screen separates the nave
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N. Rebecca and Eliezer at the Well and Jacob Wrestling the Angel D. Early Sixth Century CE P/S. Early Byzantine Europe; Early Christian; Byzantine A. Unknown OL. The Vienna Genesis P. Unknown M/T. Illuminated manuscript; tempera, gold, and silver on purple vellum, animal skin F. Spread christian narratives and biblical narratives DT. Early manuscript of early Christina narratives of bible stories, Christian iconography, purple suggest royal influence, classical tradition, linear narrative, drapery of the voltages and colanade of the the bridge suggest classical roman influence, realistic elements, C. Jacob leads servants and wives sons across form the river, separates from the group , meets a man wrestles with the man , often said it was angel and wanted the man to bless him, the man blesses him and they continue their journey, later old testament is later called Israel not Jacob, crucial to his life
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N. San Vitale D. 526-547 CE P/S. Early Byzantine Europe A. Unknown OL. Ravenna, Italy P. Ecclesius (the building) Emperor Justinian the mosaic M/T. Brick, Marble, and Stone Veneer; Mosaic F. Christian worship, reassure Justinian and Thedora rule over Ravenna because they never traveled to the city they were housed in Constantinople DT. Focused is in the center, reused bricks, stacking columns, gallery above, east end covered in mosaics that reflect the light. No classical influence , impost blocks support the arcs, the color purple represents royalty, Justinian and bishop are more individualised , halos means he is divine as well as his rule, frontal, inaccurate proportions, field of gold leaves is tradition of byzantine art C. Ambulatory that surrounds the whole place, eight sides octagon, windows make the mosaics glisson, piers support the building, in the center Christ dressed in royally purple, sits on an orb (the universe) below are the four rivers of paradise, either side is an angel, holds book of Apocalypse, right hand; handing a crown to San Vital, was adopted as the primary martyr of the city, patron hands the church to Christ, scenes of the old testament and new testament, Justinian the emperor wanted to restablish christian control, says I'm in charge, holds the ucharist, religion goes hand in hand with power of the emperor, Theodora ruled as coequal to Justinian was said to be an entertainment, colorful jewels and clothes, holds the chalice, her halo means her divignity of her rule, bring richness to rivena
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N. Hagia Sophia D. 532-537 CE P/S. Byzantine A. Anthemius of Tralles and Isidorus of Miletus OL. Constantinople (Istanbul) P. Emperor Justinian (Head of the Church) M/T. Brick and Ceramic elements with stone and mosaic veneer , floor made out of stones, imported marbles that workers would make patterns and create a kaleidoscope F. Reassert Justinian power and religious worship both Christian and Islamic DT. Built in the same time Constantine recognized Christianity, original churches burned down, high dome, sitting on a square building , emerging to half domes, physical into the spiritual, lead to the era against iconism because there was protest because of the second commandment, Islamic inscriptions, conquered by the Turks at one point C. Justinian build this church to keep people from rioting and reasurting his power, hired mathematicians to transform tradition wodden basilica, unified centrally planed space with a basilica, dome comes down on four arches, first time domes were on pendatives, building now is taller than original because earthquakes damaged it, “it seems that the dome was emerging from heaven" the dome had windows the brought in heavenly light, expression of the unity with heaven and earth, no mosaics showed figures, normal people would be in the isles and galleries, the center High ranking people
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N. Virgin (Theotokos) and Child between Saints Theodore and George D. Sixth or Seventh Century CE P/S. Early Byzantine Europe, medieval art A. Unknown OL. Monastery of St. Catherine, Mount Sanai, Egypt P. N/A M/T. Encaustic on Wood F. Ritual and spiritual worship for Catholics DT. Supremely composed, Classical influence from romans, slight twist of either the body or neck, passive saints, ground line, standing on ground and therefore closest to us, icon painting, classicizing style inherited from Rome, faces are modeled, heads are turned three-quarters, “hierarchy of bodies" ethereal angels concentrate on the hand above Theodore and George: stand erect, feet on the ground, gaze is passive looking directly at the viewer, no recognition of the viewer and appear ready to receive something and pass it inward and upward. Slightly animated by the lifting of the heel by each as though they slowly step towards us. Have own ground line Virgin: averts eyes, no eye contact with viewer, sitting in a throne with Christ as a child on her laps C. shows the Virgin and Child flanked by two soldier saints, St. Theodore to the left and St. George at the right, two angels who gaze upward to the hand of God, from which light emanates, falling on the Virgin. osmos of the world, earth and real people, through the Virgin, heavenly angels, and finally the hand of God, slightly transparent rendering of their halos give the two am otherworldly appearance. “our Earth to Heaven". Popular believe that these items were mediums to connect with holy figures and enhance their spirituality personal items |
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N. Merovingian looped fubulae D. Mod Sixth Century CE P/S. Early Medieval, Early Europe A. Unknown OL. Barbarian Grave Sites of the Byzantine Empire P. Unknown M/T. brooches, consist of a body, a pin, and a catch. Silver gilt worked in filigree with inlaid garnet and other stones F. To fasten clothing garments and show class rank through intricate detail work DT. Stylized, incised lines, inlaid semi-precious stones, would solder wires onto a metal base and fill the areas those wires created with stones C. most commonly found in barbarian grave sites, shows info about barbarian life since there was so little written documentation, shows the adoption of the crossbow fibula style and ultimately civilized lifestyle, The end of these fibulae are in the shape of Eagle heads, and little fish are shown on the main body of the brooches. Garnets were used to decorate the eyes of the eagles, and a wide range of gems were used to decorate the rest of the fibulae, Became popular by Roman military campaign |
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N. Lindisfarne Gospels St. Matthew, cross-carpet page; St. Luke Portrait Page; Saint Luke incipit page D. Early Eighth Century P/S. Early Medieval, Insular or Hiberno-Saxon A. Northumbrian Monk, Very likely Bishop Eadfrith who created it in honor of God and St Cuthbert OL. Lindisfarne Priory, Holy Island P. Lindisfarne Priory M/T. Handwritten, quill pen, fashioned from a goose feather, rich black ink made from soot F. Monks Reade from it during rituals DT. Copied from a manuscript made in Italy, Codex (bound book), latin , snakes that weave themselves into knots or birds, curvaceous and overlapping forms create an illusion of third dimension, ornamental “cross-carpet pages" Cross-Carpet Page: series of repeating knots and spirals, centralized cross, eddies of color. stacked wine-glass shapes horizontally and vertically. On closer look they are snakes-like creatutes, chameon-like who change colors, outlined in red with arms outstretched and pressing against the page edges Luke's Incipit Page: animal life, spiraled forms, and swirling vortexes, knots become snakes, Blue pin-wheeled shapes rotate in repetitive circles, caught in the vortex of a large Q that forms, host of tiny red dots that envelop words, Portrait Page: gold halo behind Luke’s head indicates his divinity, bovine clasps a green parallelogram between two forelegs, a reference to the Gospel, calf, or ox, symbolizes Christ’s sacrifice on the cross C. Gospels of Matthew, Mark, Luke and John, copied for six years, two-hundred and fifty- nine, full portraits of each evangelist. Set side by side allowing the reader to compare narrations. Made in a time of devastating invasions and political upheavals. Transported the Gospels safely to Durham. Learn this info from the manuscript itself (Alfred). He inscribed a translation into English between the lines creating the earliest Gospels in English. Matthew’s is a man, suggesting the human aspect of Christ; Mark’s the lion, symbolizing the triumphant and divine Christ of the Resurrection; and John’s the eagle, referring to Christ’s second coming |
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N. Great Mosque D. 785-786 CE P/S. Islamic art, A. Umayad OL. Cordoba, Spain P. Abd al-Rahman I M/T. Stone masonry, built with recycled ancient Roman columns F. Religious building, Islamic Mosque DT. Historical, grand, expanded over two hundred years. symmetrical arches, Hypostyle Hall: filled with columns, courtyard, an orange grove, a covered walkway circling the courtyard, a minaret is now encased in a squared, tapered bell tower repeated geometry Mihrab: focal point, horse shaped arch, prayer niche, identification of the wall that faces Mecca, framed by an exquisitely decorated arch, small pieces of glass with gold and color backing (gold tesserae),form intricate calligraphic bands and vegetal motifs that adorn the arch Horseshoe Arch: common in Visigoth architecture, easily identified characteristic of Western Islamic architecture The Dome: crisscrossing ribs create pointed arches, lavishly covered with gold mosaic in a radial pattern C. Oldest structure remaining where Muslim Rulers dominated the city, believe it was fist a Roman temple, Christian church, then a Mosque. Patron was exiled, settled in Spain and commissioned many works as well as architecture to imitate the grandeur of Damascus (old capitol) such promoting agriculture, importing fruit trees/plants from home. Orange trees still stand in the courtyard, dome techniques anticipates later Gothic rib vaulting, architectural styles based on pre-existing regional traditions |
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N. Pyxis of al-Mughira D. 357/ 968 CE P/S. Islamic art in the medieval period A. Possibly from Madinat al-Zahra OL. Spain P. M/T. carved ivory with traces of jade F. Used for cosmetics, perfume, gift to the then-eighteen-year-old al-Mughira, express the political authority and legitimacy of Umayyad Caliphs, Arabic inscription runs around the bade asking god to have mercy on him. DT. cylindrical box used for cosmetics, luxurious box, Inside are small silver containers of perfume, intricate, adorned in highly specific, royal iconography C. Gifted to the son of Caliph, Abd al-Raḥmān III when he was eighteen years old, possibly as a coming of age present. best surviving example of the royal ivory carving tradition in Islamic Spain, contains an inscription and figurative work essential to the understanding of these pieces, |
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N. Church of Sainte- Foy D. Church : 1050-1130 CE P/S. Romanesque Europe A.Umayyad OL. Conquest, France P. Church of St. Foy M/T. Architecture: Stone, Tympanum: stone and paint, Reliquary: gold sliver gem stones. And enamel over wood F. Icon to pay homage and pray to. The main icon of the church DT. Public worship, icon, ritual and ceremony, knowledge and belief, beauty, faith, humanity C. Because of the popularity of this icon it would bring many pilgrimages to the church bringing more wealth and popularity, |
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N. Bayeux Tapestry D. 1066-1080 CE P/S. Romanesque Europe A. Various unknown OL. England P. King William M/T. Needle work sewn from woole to linen, broidery on linen F. To celebrate Williams conquest of England, lead to the death of Edward the Confessor and succession of a new king, Harold DT. freezes top and bottom are fables details of farming life, tables, stories, ordianey life, C. Begins with the death of Edward the Confessor and burial in western Abby , Harold receiving the crown with receptor, spies inform William that Harold has received the crown and orders ships to be built for an invasion, trees are cut down to start building the ships, armed with spears and chain mail carried by men, horses on board of ships, boats set sail, army is fed, William feast with men and prepare for war, sets fire to Anglo Saxons, war commence, rumor sweeps his army that he has been killed shows troops he wasn't by lifting helmet, Harold is slaughtered with an arrow on his eye |
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N. Chartres Cathedral D. Original Construction 1145-1155 CE; Reconstructed 1194-1220 CE P/S. Gothic A. People of the town Chartres OL. Chartres, France P. The town of Chartres M/T. Limestone F. Evoke and inspire, create heaven on earth DT. Rose window, stained glass, pointed arches, C. Early History: said the roman temple was converted to a christian basilica, always associated with the Virgin Mary, received a relic from Constantinople, The tunic that Mary wore while giving birth to Christ, (Very special and powers) people would travel enormous distances to pay homage to the objects, pilgrimages, in 1194 the basilica burned down, three days later the tunic was rediscovered unharmed. When rebuild it became the new unified meaning of a Gothic church, built upon the universal measure that god created the universe with, closer to god Interior: stained glass, speckled walls with colored lights, light is a symbol of divinity, the light of God, rarely seen colors in medieval art, clear story windows, pointed arches, ribbed vaults enabled higher ceilings, integration of revolving chapels with the apes, Flying buttress: supporting structure that allows for openings in the walls, more opening more light of God, allows for weight to be brought outwards and down, thinner buttress more advanced architect, all using mathematical proportions, the Golden Ratio, all the way for the ideal proportion to become closer to heaven. The transcept was integrated after the burning of the church to resble a cross and provided an extra entrance to pilgrims and more space for the incoming people, north rose window has the virgin Mary with her child in the middle surrounded by four doves above are four thrones and four angels , the diamonds are the kings of Judea believed to be her ancestors, the archivolt show the creation of God, shows the life of Mary, the jams show the figures of Gothic influence post fire. Old testament prophets |
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N. Dedication page with Blanche and Castile and King Louis IX of France D. 1225-1245 CE P/S. Gothic Europe A. Clerk OL. France, probably Paris P. Queen Blanche of Castile M/T. Illuminated Manuscript (Ink, Tempera, and Gold Leaf on Vellum) F. Moralized Bible DT. Stylized and colorful buildings C. depict Blanche of Castile and her son Louis, a beardless youth crowned king. made expressedly for the French royal house, include lavishly illustrated abbreviated passages from the Old and New Testaments. lily symbolizing a French monarch’s religious, political, and dynastic right to rule. scepter, indicating his kingly status.,
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N. Röttgen Pietá D. 1300-1325 CE P/S. Late Medieval Europe A. Unknown P/S. Late Medieval Europe OL. Rhineland, Germany P. Unknown M/T. Painted wood F. Enhance religious beliefs, evoke empathy for Mary DT. Humanism, converting cultures, public worship, faith, religious context, lamentation, secular C. Spirituality and mysticism that emerges in the later middle ages through the gruesome images, Mary holding her dead son, gaping wounds, 3D blood that explodes out of the body, painted blood dripping from his face, The Lamentation, no other figures around them, story element is diminished, focus on Mary and her responce, furrow brown anger and confusion over the death, has the foreknowledge of his death but her expression shows agony, reflection of changing ideas, can connect with god in a more personal level, empathy with Mary, damage in Marys head, spacial because it is wooden sculpture that was easily damaged and broken easily, initial shock and horror to empathy, god understands my suffering |
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N. Arena (Scrovegni) Chapel, including Lamentation D. Chapel: 1303 CE; Fresco: 1305 P/S. 14th Century A. Unknown Architect; Giotto do Bondone Artist OL. Padua, Italy P. Scrovegni family M/T. Brick (architecture) and Fresco F. Dedicated to The Virgin Mary because of the Scrovegni family sin of usury, DT. Private worship, faith , religion, identity religion domestic place of birth, culture, humanism, ritual, change in style of art, creativity. Reality C. Connected to the palace of the Scrovegni family, called an arena chapel because it is next to ancient roman arena, enclosed by images, narrative scenes, faux marble panels, star studded blue sky with images of Christ and may with other saints, begin in the top and move downward, spiral narratives, begin with Christ grandparents, Mary's birth, Mary's marriage, 2nd register begins with life of Christ, the bottom register is the passion, the events of the end of Christ life and immediately after his death, all of this is due to a sin of usury (Charged interest) being a banker was an immediate ticket to hell, Dante singled out Enrico Scrovegni's father to one of the most treacherous parts of hell because he was a banker, hoped by building this chapel to amend his sin, we see Enrico giving this chapel to Mary, Frescos: the upper register is filled with narrative of the Golden Legend, The second register, humanism, emotional, touch of faces, bulky bodies create 3D, real human beings in art, human interaction, scenes of Christ childhood, his miracles , The Lamentation: Virgin Mary with her dead son. Evokes empathy for Mary, has been crucified and now is being mourned by Mary and spectators, emphasis of Christ as human, the tree is a metaphor of Christ resurrection, all other things and people are looking to Mary and Christ to lead our eye to them, foreshortened angels create background and space Last register: the Passion: narratives of envy, good vs evil that confronts all of us, the things that decide our judgment in judgment day, Virtues vs Vices The middle: Judgment Day!! Heaven and hell in the middle God |
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N. Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preparation for Passover) D. 1303 CE P/S. Late Medieval Spain A. Tie unknown artist OL. Near Barcelona P. Wealthy Jewish family M/T. Illuminated Manuscript (Pigments and Gold Leaf on Vellum) F. For a wealthy Jewish family for religious practice, sh prayers and readings written to accompany the Passover 'seder', DT. Power, domestic life, spirituality, ritual, faith, private worship C. illustrate stories from the biblical books of 'Genesis' and 'Exodus' and scenes of Jewish ritual. Adam naming the animals, the Creation of Adam and Eve, the Temptation, Cain and Abel offering a sacrifice, Cain slaying Abel, and lastly Noah, his wife and sons coming out of the ark. God's image is forbidden in Jewish religious contexts, and is totally absent in all the miniatures here. Instead, angels are seen intervening at critical moments.
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N. Alhambra D. 1354-1391 CE P/S. Nasrid Dynasty, Gothic A. Unknown OL. Granada, Spain P. Muhammad I M/T. Whitewashed adobe stucco, wood, tile, paint, and gilding F. 1. residence for the ruler and close family, the citadel 2. The Citadel: barracks for the elite guard who were responsible for the safety of the complex, 3. Medina: where court officials lived and worked. DT. Means red fort, complex geometric tile dadoes, courtyard and fountain originally painted in various colors, large courtyard with a pool, geometric, C. 1,730 meters (1 mile) of walls and thirty towers, complex are connected by paths, gardens and gates, if an invasion or attack occurred each section was able to be blocked from the others, double arched windows illuminate the room and provide breathtaking views, Additional light is provided by arched grille (lattice) windows set high in the walls. walls are lavishly decorated with tiles laid in intricate geometric patterns, fountain with a complex hydraulic system consisting of a marble basin on the backs of twelve carved stone lions situated at the intersection of two water channels that form a cross in the rectilinear courtyard, water integral. |
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N. Pazzi Chapel D. 1429-1461 P/S. Renaissance A. Filippo Brunelleschi OL. Basilica do Santa Croce. Florence, Italy P. Basilica do Santa Croce M/T. Terecata F. Originally used as a chapter house, meeting place for monks DT. Geometric, classism C. Influence of ancient Rome, oculus, domes, roundels, centrally planned space, rational, broader than is long, barrel vaulted spaces of either side if the dome, |
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N. David D. 1440-1460 CE P/S. Renaissance A. Donatello OL. Florence, Italy The Medici Garden P. The Medici Family M/T. Bronze Casting Sculpture, lost-Wax casting F. Show Florentine pride, statue for the medici garden to signify their power and their strong qualities DT. First free standing since classical time, return of ancient Greece and Rome's love for the body, erotism C. Narrative of David and Galieth from the old testament. The city of Florence favored this narrative because compared to neighboring city states, they were the underdogs. They were more of a mercantile culture Their navy and army was not as strong or powerful as Milan (their opposing city). Defeated the Duke of Milan with Gods help.They viewed themselves as cultured and smart, just as David and used him as a symbol to represent their city-state. A promise of a long rule. The Medici family identifies themselves with Davids youthfulness and peace. Once Donatello made the sculpture he used interesting approach. He made David feminine. His body is sexualized. The way his hand is on his hip and is looking down. He is rendered in the nude with only a hat and boots. He is in constaposto. He is standing over Galieth's head after defeating him with his oen sword, which we see him holding. The sword looks kind damage because of the many battles Galieth has been in. One very interesting thing about David is the feather that rides up his thigh. Many suggest it was an indication of Donatello's homosexuality. Sense of movement and atanomy, on his left hand he has the rock he used to bring down Galieth, |
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N. Palazzo Rucellai D. 1450 CE P/S. 15th Century A. Leon Battista Alberti OL. Florence, Italy P. Giovanni Rucellai M/T. Stone, masonry F. Living courters DT. Classism, humanism applied to domestic architecture C. Influence of Ancient Roman architecture, lighter, rounded arches, plasters, in between the story there is a classical entablature which gives a since of horizontal. Uses the Medicis symbols (feathers) and the Rucellai family (sails). The waiting room has ionic and Doric columns, not finished 1/3 is still not done. Open space, civic pride that lead to beautifying the city |
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N. Madonna and Child with Two Angels D. 1465 CE P/S. 15th century A. Fra Filippo Lippi OL. Villa of Poggio Imperiale. Florence, Italy P. Cosimo De Medici M/T. Tempera on wood F. DT. Playful, humanist, earthly, natural, real, decorative, love C. Sombre note because of Marys foreknowledge of Christ destinity, looks nice a beautiful women, the angels looks like if they could be playing in the Florence streets, the angel in the foreground looks playful and michavous. And angle is depicted only with half of his FCE beneath Christ, something that would have never even thought of in the medieval period, the halo is a simple circle, a frame is an edition that looks as if it might be a window and apart of the printing x translucent fabric Mary wears in her hair, curls in Christ's hair |
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N. Birth of Venus D. 1484-1486 P/S. 15th Century A. Sandro Botticelli OL. P. Medici Family M/T. Tempera on canvas F. DT. Influence by ancient Greek painting, linear, defied space, decorative, sensuality, fluttering drapery C. Iconic images, stands naked not in a christian context, ancient goddess of live, based her in an ancient Greek sculpture, stemmed as if pushed in by winds and stands on a sea shell. Once a arrived at the shore there is someone possibly a servant ready to clothe her, every figure floats, figures are pushed forward, three sects in the painting, neoplatonic space, contemplation of physical beauty, elegance, |
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N. Last Supper D. 1494-1498 P/S. 15th Century A. Leonardo Da Vinci OL. The Church of Santa Maria delle Grazie in Milan, Spain P. Early Renaissance M/T. Oil tempera F. Depict the Last Supper for religious purposes DT. Christ and his 12 disciples are seated at a long table parallel to a picture plane in a simple, spacious room. Austere setting Christ is in the sender isolated from the rest of the group. The central window behind Christ frames his body. The pediment along with the diffused light serves as a halo for Christ. Christ's head is the focal point of all converging perspective lines. Disciples are all in in four groups of three. (United by their figures and gestures) Judas has his face in a shadow and clutches a money bag in his right hand and reaches his left forward to fulfill the masters declaration "But yet behold, the hand of him that betrayeth me is with me on the table" the disciples depict a broad rage of emotional responses; fear, doubt, protestation, rage, and love (new testament) C. Currently in a ruined state because of the experimentation of the materials used by the artist. (Has been restored continuously). Christ with outstretched hands says “one of you is about to betray me" a wave of intense chaos breaks through where each disciple ask themselves "Is it I?" The setting is taking place when Christ is blessing the bread and wine essentially doing the ceremony of the Eucharist. Da Vinci sacrificed traditional iconography to be pictorial and dramatic consistency by placing Judas on the same side of the table as Jesus and the other disciples. The disciples at the end are calmer and the disciples closest to Christ are more intense. |
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N. Sistine Chapel ceiling and altar wall paintings D. 1508-1512 P/S. Renaissance A. Michelangelo OL. Vatican City, Italy P. Pope Julius II M/T. Frescos F. To incorporate the Patron's agenda, church doctrine, and the artist interest, depicting the august and solemn themes of all, the Creation, Fall, and Redemption of humanity. DT. Decorative themes throughout, intertwined more than 300 characters, long sequence of narrative panels describing the Creation, as recorded by the biblical book of Genesis. Runs around the crown of the vault, above the alter is the God's separation of Light and Darkness, near the entrance of the chapel is the Drunkenness of Noah . therefore as a visitor would walk into the church they would review the fall of humankind in reverse order. C. Michaelangelo protested at first the painting was not his profession. Was inexperience with fresco techniques, the ceiling was Hugh and was obscured due to the curves of the vaults, creating perspective problems, the overall conceptualization of the ceilings design and narrative structure represents renaissance ideas about christian history as well as chronology of Christianity. |
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N. School of Athens D. 1509-1511 CE P/S. Renaissance A. Raphael OL. Originally a library for the pope P. Julius II M/T. Frescos F. Decorate the library of Pope Juilius II DT. Humnist classical learning, free movement, linear perspective, C. Environment of learning, four branches of human knowledge, philosophy, poetry , justice, and theology, represented by allegorical figures, Athens represent philosophy. Every known figure is represented there, Polikleito waters red and Arestotle wears blue hold their own books, concerned with reality and practicality, coffered barrel vaults, the niches are filled with gods and goddesses, share knowledge, only identifiers are the titles of the books, foreground, background, middle ground, linear perspective balances the orthogonal, pages homage to Michaelangelo with Hereclaitus which was actually added later, Raphael includes himself as well, divides figures into groups, |
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N. Entombment of Christ D. 1525- 1528 P/S. Renaissance Italy A. Jacopo de Pontormo OL. Pinacoteca Vaticana, Vatican City P. The church of Pinacoteca Vaticana M/T. Oil on wood F. It was for the Church in the Pinacoteca Vaticana DT. After the crucifixion, some on Christ's followers (Nicodemus, Joseph of Arimathea, Mary Magdalene) along with his Mother, remove Christ's body from the cross and place it in the tomb. tenebroso. There is no background. No architecture, no landscape. very stark contrasts of light and dark. the ledge of the tomb is foreshortened and so it juts out into our space. C. had a bad temper and could be violent, frequently arrested and imprisoned for assault. happening in the black of night with almost a spot-light effect on the figures . |
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N. Venus of Urbino D. 1538 CE P/S. Vennitian Renaissance A. Titian OL. Venice, Italy P. Guidobaldo II, Duke of Urbino M/T. Glazing, thin layered of oil paint, oil on canvass F. Classical mythology what probably merely represents a courtesan in her bedchamber ( no evidence suggest that the duke intended it as anything more than a female nude for his own enjoyment) DT. Sensuality, based his Venus upon an earlier version of Venus by Giorgione. Reclining female nude upon a luxurious pillowed couch. At her feet is a pendant, a slumbering lapdog. Behind her is drape the emphasized the foreground. In the background two servant bend over a chest seeking clothing garments. Behind the servants is a window where a landscape is seen. Uses perspective by decreasing the size of figures. C. The title is acquired later, protective title, nude woman, gazing directly at us, flowers suggest sensuality as well, softness, richness of color, setting up the reclining nude position, divided into two, foreground and background, long torso, tiny feet, the reds and whites repeeesent the venetian red |
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N. Annunciation Triptych (Merode Altarpiece) D. 1427-1432 CE P/S. Northern Renaissance A. Referred to as the "Master of Flémalle" is Robert Campin OL. Tournai P. Peter Inghelbrecht M/T. Oil paint on wood F. Private use, representative of triptychs, the utensils and furniture are religious symbols, ( the virgins purity and divine mission) DT. The central panel depicts the popular Annunciation theme. The archangel Gabriel approaches Mary who is reading. In a middle class Flemish home setting. In the right panel , Joseph has made a mousetrap, (symbolize that Christ is bait set in the trap of the world to catch the Devil), on the left panel the patron Peter Inghelbrecht and his wife kneel and seem to be permitted to witness this momentous event through an open door. ( their seeing is a closed garden symbolizing Mary's purity) C. Campin was the leading painter of the city of Tournai, smaller than the average Flemish altarpiece, however due to the size it allowed the owner to close the windows and move the painting as they please. |
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N. The Arnolfini Portrait D. 1434 P/S. Northern Renaissance A. Jan Van Eyck OL. Italy P. Giovanni Arnolfini M/T. Oil paint on wood F. Double portrait, depicted the Lucca financier DT. The setting is their bed chamber, depict the jolliness of matrimony, hand in hand the couple take the marriage vows, the cast-aside clogs indicate the event is taking place in a holy ground. The dog symbolized fidelity. Displayed textures and carefully depicted the light shining in. Above the mirrors the artist wrote he was there C. Arnolfini established himself in Bruges as an agent of the Medici family, the placement of the couple suggest the traditional sex roles. The woman stands near the bed and closer to the center of the room symbolizing she is domestic and the man near the window symbolizing his role to the outside world |
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N. Adam and Eve D. 1504 CE P/S. Northern Renaissance A. Albrecht Dürer OL. Nuremberg, Germany P. Unknown M/T. Engraving F. To represent the first distillation of Dürer's studies of the Virtruvian theory of human proportions DT. Outlined against the dark background of a northern forest, idealized figures. Intertwined naturalism with the poses. The choleric cat, the melancholic elk, the sanguine rabbit , and the phlegmatic ox represent humanities temperaments based on the "four humors" the tension between the cat and mouse represent the relation between Adam and eve C. The figures stand is poses reminiscent of specific classical statues, represented by numerous geometric drawings, attempted to represent ideal human proportions in balanced contrapposto poses, naturalism in the background and animals, |
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N. Isenheim Altarpiece D. 1512-1516 CE P/S. Northern Renaissance A. Matthias Grünewald OL. Isenheim, Germany P. Head minister of the monastery, Guido Guersi M/T. Oil on wood F. Created for the monastic hospital order Saint Anthony of Isenheim DT. Monument that reflects Catholic beliefs, wooden shrine, consist of two pairs of movable wings that open at the cdnrer , one pair stands directly behind the other. Present four scenes - Crucifixion in the center, Saint Sebastian on the left and Saint Anthony on the right, and Lamentation in the predella. When opened four additional scenes are illustrated. C. Placed in the choir of the church adjacent to the monastery hospital. Saints are associated with diseases such as the plague and with miraculous cures, specifically deals with |
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N. Allegory of Law and Grace D. 1530 CE P/S. Northern Renaissance A. Lucas Cranach the Elder OL. P. N/A M/T. Woodcut and letterpress F. protestants viewed low-key images such as woodcut prints as useful devotional aids, educating the masses, DT. Protestantism vs Catholicism, allegory is a small woodcut print, depicted the differences between Catholicism and protestants, old testament law vs belief in gods grace, two images separated by a centrally placed tree, on the left side judgment day has arrived , known because of Christ position on the top accompanied by saints amid a cloud halo, raises hand (traditional gesture of damnation), below a skeleton drives off a terrified person to burn forever in eternity, the protestants emphasized God's graze as the source of redemption, god shows the sinner the right path with grace , on the eight he emerges from a tomb and promises salvation to all who believe in him C. Produced years after the onset of the Reformation, protestants viewed low-key images such as woodcut prints as useful devotional aids, artist could print them easily, permitted wide circulation and the sale of numerous copies, least expensive of all art forms, |
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N. Frontispiece of the Codex Mendoza D. 1541–1542 P/S. A. The artist or artists were indigenous OL. Viceroyalty of New Spain P. Antonio de Mendoza M/T. pigment on paper F. to record information about the Aztec empire DT. the images were often annotated in Spanish by a priest that spoke Nahuatl, information about the capital city and its origins. schematic diagram of Tenochtitlan C. contained information about the lords of Tenochtitlan. intended to send the Codex to the Spanish King, French pirates acquired the Codex and it ended up in France, information about the organization and foundation of the Aztec capital, |
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N. II Gesù, including Triumph of the Name of Jesus D. Church: Sixth Century CE Facade: 1568-1584 CE Frescos & Stucco figures: 1676-79 P/S. Baroque A. Giacomo da Vignola, plan architect Giacomo della Porta, facade arch. Giovanni Battista Gaulli, ceiling fresco artist OL. Rome, Italy; Gran Palazzo Barbeeini P. Pope Urban VIII M/T. Brick, marble, fresco, and stucco F. Burnish public image or control legacy, opportunity to impress viewers by the glory of the Catholic Church DT. Above the have of the church , the mother church of the Jesuit order, stunning, offer the viewer a glimpse into heaven , represented Jesus as a barely visible monogram, in a bringing radiant light that floats heavenward, sinners are violently grown back into earth, glazes the painting to suggest shadows, illusionistic, the sinners were painted on three dimensional stucco extensions that project outside the paintings frame C. Frescos contributed to creating transcendent spiritual environments . during the time of the counter reformation , this church played a dominant role in the counter reformation efforts. |
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N. Hunters in the Snow D. 1565 CE P/S. Northern Renaissance A. Pieter Bruegel the Elder OL. Germany P. Unkmown M/T. Oil on wood F. Unknown DT. Severe winter, weary hunters returned to their hounds, women built fires, skaters skimmed the frozen ponds, the town and its church huddle in their mantle of snow, an alpine landscape is shown at the head of the painting. ABSCURE. C. The artist traveled to Italy and stayed for almost two years went down to Sicily and experience and learned renaissance ideals. Although he would depict nature landscapes frequently, the human nature and activities dominate the events. He chose not to incorporate classical elements in his paintings, his Italian experience influenced the landscapes. This paining is one of five surviving paintings of a series of six illustrating seasonal changes in the year, and refers back to older Netherlandish traditions of depicting seasons and peasants |
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N. Mosque of Selim II D. 1568–75 P/S. Baroque A. Sinan OL. Edirne, Turkey P. Sultan Selim II, the son of Süleyman the Magnificent M/T. F. building a large complex here offered the Sultan an opportunity to use architecture to impress the Ottoman Empire’s greatness upon visitors DT. Elegant stacked domes, towering, slender pencil minarets characterize Ottoman mosque architecture, modern designs, , more than the length of two football fields C. built by the greatest of all Ottoman architects,. Was not located in the capitol of turkey, the patron stationed here as a prince when his father campaigned in Persia in 1548 and he enjoyed hunting on the outskirts of the city. historical and geographic significance. opportunity to build a mosque that would dominate the city. |
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N. Calling of Saint Matthew D. 1597-1601 CE P/S. Baroque A. Caravaggio OL. Contarelli Chapel in San Luigi dei Francesi, Rome P. San Luigi dei Francesi M/T. Oil on Canvas F. Reveal a spiritual message, honor Saint Matthew, painted for the Contarelli Chapel DT. A piercing ray of light illuminating a world of darkness, setting is a bland street scene with a plain building wall serving as a backdrop, mundane environment. Christ (right center) is clocked in a mysterious shadow and almost unseen. Christ is only identifiable by his halo. Christ motions a commanding gesture. He then summons Levi (sitting in the table between the old woman and the boy with the feathered hat) (also the Roman tax collector) to a higher calling. Levi points to himself in disbelief. His face is also illuminated by an unspecified beam of light coming into the room being Christ head. The conversion of Levi (who became Matthew) brought his salvation. Used tenebrism C. Christ gesture recalls that of the Lord in Michaelangelo's creation of Adam in the Sistine Chapel. Christ hands and wrist is similar to Adam . theologically Christ is the second Adam. In contrast to Adam, who is responsible for the Fall of Man, Christ is responsible for human redemption. Caravaggio separated himself by not painting traditional depictions of religious scenes. The eloquence and humanity of his painting attracted many. |
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N. Henri IV Receives the Portrait of Marie de' Medici, from the Marie de' Medici Cycle D. 1621-1625 CE P/S. Baroque A. Peter Paul Rubens OL. Luxemburg, France P. Marie De Medici M/T. Oil on Canvas F. To depict the triumphs of her life DT. Elevated her moments by adding mythological figures and allegorical figures and gave a sense that her position as queen is divinely ordained. Henry the fourth is seeing gazing at her face for the first time . a man who is looking at a painting (her face) completely taken with the image of her. Left hand is open a gesture of being in awe. Elegance of his position. An expression of cuortly manners. Zeus and Juno are identified because if the eagle being Zeus who holds a thunderbolt AMD a peacocks by hera. The portrait is held aloft by cupid and and Hen the god of marriage. Behind of henry there is a personification of France. As if saying doing it for France as a political move. Political imperative, important political allienec. A landscape of battle the king has put his helmet down as if saying he is leaving behind war for his great live. Marie is formal and looks straight out which makes her flat as opposed as Henry who is in true baroque style and in motion. Diagonals are used to direct the eye to Henry and Marie. C. About the life of Marie De Medici , she married Henry the fourth of France, although she was wealthy and she had wveything at her siposal, achieving her goal was difficult because her life wasnt all that interesting. She would have children , one which died in infancy, Henry would die and she would become regent of France. It was created during "catholic Europe" but it is filled with mythological figures |
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N. Self-Portrait with Saskia D. 1636 CE P/S. Baroque A. Rembrandt van Rijn OL. Dutch P. Rembrandt M/T. Etching F.regarded as an example of a marriage portrait DT. both he and his wife are shown wearing historical clothing. Rembrandt wears a fanciful 16th-century style plumed beret tilted at a jaunty angle and a fur-trimmed overcoat. Saskia wears an old-fashioned veil.regarded as an example of a marriage portrait. The two figures are presented in half-length, seated around a table before a plain background. C. It was very popular for artist during the era to paint themselves in another era with other clothing. Such play-acting was not unusual for Rembrandt who only twice represented himself in the manner that was most popular at the time, as a contemporary Amsterdam gentleman. produced more self-portraits than any artist before him (roughly 75), Saskia’s untimely death at the age of 30. |
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N. San Carlo alle Quattro Fontane D. 1630-1646 CE P/S. Baroque A. Architect- Francesco Borromini OL. Rome, Italy P. The church of Quattro Fontane M/T. Stone and stucco F. Serve as the facade to the church DT. Emphasized building sculptural qualities, Whole facade in undulating motion, forward and back, making a counterpoint of concave and convex elements on two levels, there is a sway in of the cornives , emphasized the three dimensional effect with deeply recessed niches. Pulsating. Engaging component inserted between interior and exterior space, designed not to separate but to provide a fluid transition between the two. It is actually two facades, The second is a narrow bay crowned with its own small tower, turns away from the main facade and following the curve of the street, faces an intersection. Hybrid of a Greek cross. A cross with four arms of equal length and at right angles. An oval with a long axis between entrance and apse. The side walls move in an undulating flow that reverses the façades motion. Protruding columns. Interior is caped with a deeply coffered oval dome that seems to float on the light entering through windows hidden in its base C. The church in English is Saint Charles of the Four Fountains. The second facade was not complete when borromini was still alive therefore historians are not completely sure to what degree the present design reflects his original plan. |
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N. Ecstasy of Saint Teresa. Cornaro Chapel, Church of Santa Maria della Vittoria D. 1647-1652 CE P/S. Baroque A. Gian Lorenzo Bernini OL. Rome, Italy P. Cardinal Federico Cornaro M/T. Marble (Sculpture); stucco and gilt bronze (Chapel) F. To depict the visions of saint Teresa but many believed theatrical sculptures which are recreations of spiritual experiences for viewers would do much to increase devotion and piety. Also were used to achieve counter reformation goals DT. Used a combination of architecture, sculpture, and painting. Created a sense in the area of palpable tension. Depicts Saint Theresa, she was a nun in the Carmelite order and one of the great mystical saints of the Spanish Counter reformation . the niche in which it takes place appears as a shallow proscenium (the part in the stage in front of the curtain) crowned with broken Baroque pediment and ornamented with polychrome marble. On either side of the chapel , sculpted relief portraits of the Coronado family behind draped praying desks attest to the piety of the patrons attend the drama. Depicted the saint in spiritual and physical passion. Swooning back on a cloud. Different textured clouds, clothing, gauzy material, smooth flesh, and feathery wings suggest the artist incredible technique and skill. Light form a hidden window of yellow glass pours down on bronze days that suggest the radiance of heaven C. Achieve the theatrical aspect of the piece because he, himself was very interested in theater. Such as writing plays and producing stage designs. This piece depicts the visions saint Teresa had before becoming a nun. Her conversion occurred after the death of her father, when she fell into a series of trances, saw visions, and heard voices. She felt a persistent paint which she attributed to the flamming arrow of Divine love that an angel thrust repeatedly on her heart. Saint Teresa in her writings where she described her experience as making her swoon in delightful anguish. |
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N. Las Meninas D. 1656 CE P/S. Baroque A. Diego Velásquez OL. Spain P. Unknown M/T. Oil on Canvas F. Toe levate both himsleeft and his profession DT. Depicted himself standing in his studio before a large canvas. The young Princess/infanta Margarita appears in the foreground with her two maids in waiting. Her favorite dwarfs and a large dog. In the middle ground is a woman in widow's attire and a male escort. In the background a Chamberlain is framed in a brightly lit doorway. C. Translates to the Maids of Honor his works were greatly influenced by Rome and Spain. The room represented in the painting was the artist's studio in the palace of the Alcázar in Madrid. Philip IV orders part of the chambers of Prince Baltasar Carlos to be converted into a studio for Velázquez after his death. Art historians still do not completely agree in a concrete reading to the narrative of the painting. Many question what actually is taking place. For example, what is he drawing in the paintings. However, it is clear he attempted to elevate both himself and his profession. |
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N. Woman Holding a Balance D. 1664 CE P/S. Baroque A. Johannes Vermeer OL. Holand P. Unknown M/T. Oil on canvas F. Not known exactly. DT. Acsenw of every day life. Argued about the true purpose. A woman dressed up in fine clothing which is apart of upper merchant class in Holand. Wearing a Lenin cap the women would wear when they were at home and a fur jacket to keep her worm. Opposite of her is a window and a mirror. On her right hand she has a very fine balance. There is nothing on either side but she is waiting for the balance to come to rest. On the table before her is a number of boxes. One an open box that would held the balance and the weights and another box there is string of pearls AMD coins. It seems as if she is about to weigh objects. This suggest material wealth. In back of the women's head there is an image of Christ in a brilliant mandola towards the top functioning as judge over all souls that had ever lived. You can see those souls at the bottom. On the right of Christ there would be sounds that were blessed. On the left would be the souls that were damned. Divided by the women head The last judgment in back of her sujest more than just a simple balancem the idea of time and changed ecstatic frozen quiet. Carefully planed out. Vanishing point is the pinky figure. The exact center is where the balances meet. C.the merchant class in Hand during the 17th century would purchase paintings of everyday scenes such as the one shown. Art historians can not agree with the exact function. A scene of intimacy. Wealth vs piety. Maybe the balance suggest the balance of wealth and gluttony and spirituality . |
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N. The Palace of Versailles D. Begun in 1669 CE P/S. Baroque A. Louis Le Vau and Jules Hardouin (Architects) OL. Versailles, France P. Louis XIV M/T. Masonry, Stone, Wood, Iron, and Gold Leaf (Architecture); Marble and Bronze (Sculpture); gardens F. Home to the king. meant to emphasize Louis’s importance DT. Around the courtyard he built in the same style the symmetrical wings, the Stables and Grand Commun buildings, but chose stone to envelop the primitive château on the garden side. also built the first Orangerie and the Menagerie in the park. fabulous ceremonial staircase of the king’s grand apartment − and the decors of the royal apartments. prime example of the over-the-top excesses of the French nobility that led to the French Revolution. you’re bombarded with room after room of marble and gold and paintings: ceilings painted to place Louis in the company of the Greek gods, busts of him in a huge formal curly wig staring at you wherever you go, and gold gold gold, so you never lose sight of how wealthy the King of France was. C. extension of the brick and stone palace of his father Louis XIII. Around the courtyard he built in the same style the symmetrical wings, the Stables and Grand Commun buildings, but chose stone to envelop the primitive château on the garden side. These projects were completed by François d’Orbay. decided to build a new palace and move his court out of Paris, there was nothing on his chosen site at Versailles but a smallish hunting lodge. completed 21 years after it was begun . |
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N. Screen with the Siege of Belgrade and Hunting Scene D. 1697-1701 CE P/S. Baroque A. Unknown but Mexican ethnicity OL. Mexico P. Circle of the Gonzáles Family M/T. Tempera and resin on wood, shell inlay F. To display wealth, power, and control of the Spaniard Viceroyalties over the Mexican colony by displaying this piece in his home. In his new palace. To assert Habsburg dominance overexico AMD globally DT. Double sided. Inspirited by Japanese art. Bordered by flowers. On one side there is a battle scene. Extremely chaotic scene. The Habsburg's angaint the Turks. There is and influence of Japanese art through the similarity of the landscapes. Battle depicted is very contemporary. Styles: dedicated thin painted with illuminated areas with sheelm . one of only surviving enconchado. A combination of inlay and enconchiado. Flickering . each side was intended to different groups. Other side more relaxed and decorative. Hinting scene. Asian inspired landscape intended for viceroyalty. Political use as well. The decorative border looks textile. Inspires by Asian tapestry. The hunting scene was copied into a print of the Medicis . dense metalic motif creating a frame. The motif looks so European with classical elements. This side would largely be seem only by women. C. Due to trading with the Philippines islands during the colonization of both if the territories Jew objects and goods were traded. there was a fascination with Japanese screens or also known as biombo that inspired the Mexican screen. The Habsburg's were the famil6 that conttroled Spain, some pasrts of central Europe, and colonies. They set up viceroyaltiees in their colonies because they could not govern a place that is so far away. Mexico was the central point of all trade between the colonies and the mother country there for being exposed more to different cultures and xostums. Mexico created tremendous wealth through traw goods. His first wife was actually a defendant of the kimf of the mmexican indigiounous people |
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N. The Virgin of Guadalupe (Virgen De Guadalupe) D. 1698 CE P/S. Baroque A. Miguel González OL. Basilica De Guadalupe, Mexico City P. Unknown but most likely the Basilica De Guadalupe M/T. Oil on canvas on wood, inlaid with mother-of-pearl F. Religious depiction of the patron saint of mexico DT. Enconchado. The mother of pearl creates a Reflective iridencent surface the flickers and changes as your eye moves across the suggest the heavenly and divine. She is shrowded in sunlight and has stars in her cloak. Standing in the moon supported by an angel. Became symbol of Mexican identity C. This is in imagery from the book of revelation which talks about the woman of the apocalypse similarly shrouded in the sun and had stars around her head but in this case in her cloak. The virgin of Guadalupe miraculously appears to an indigineous man named Juan Diego on top of the hill of Tepeyac, she speaks in his language (Nahuatl) and she tells him to go to the bishop and to put a shrine in her honor in this hill. A moment in time when the Spanish are intensly converting the indeginous people and this vision confirmed the correctness of the conversions. CHRISTIANITY. The bishop does not believe him and the virgin tells Juan Diego to gather up castilla roses into his cloak to bring it to the bishop to confirm that she is actually appearing to Juan Diego. Not only does the roses fall out but the image of Guadalupe is imprinted on cloak. the image that is in the basilica. Known as the dark version. Relates to the old testament of the song of songs which says she is black but beautiful. This woman is then read as an analogue to the virgin mary. Indeginous version of the version of Mary. Becomes the copatronize of Spain after plagues. |
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N. Fruit and Insects D. 1711 CE P/S. Baroque A. Rachel Ruysh OL. Florence, Italy P. For the merchant class M/T. Oil on wood, stila F. To depict a culmination of all her studies of elements. DT. Subject of the autumn. The subject of the harvest. Food and vegetables. Symbolic valuable. Wheat and grapes and thought of the Eucharist . small details. Red and green are complementary colors. The insect in the foreground that just landed is a reminded that her father collected and perseved. The blue dust accents the grapes. C. Incredibly successful during her long career. From her teens more into her eightees. Sold double as other paintings. painting for a wide merchant class. Not just a scene she would place and paint. Instead a combinations of all her studies. Scientific interest in characterizing the own and new world. Painting as almost scientific elements. Such a great collections of preservation that hr sold it to the Czar of Russia |
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N. Spaniard and Indian Produce a Mestizo D. 1715 CE P/S. Baroque A. OL. P. M/T. Oil on Canvas F. DT. C.
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N. The Tête à Tête, from Marriage à la Mode D. 1743 CE P/S. Baroque A. William Hogarth OL. England P. Squanderfield family M/T. Oil on canvas F. De pict a story of marriage of the Squanderfield family DT. A set of six paintings, a story of the family Squanderfield. Men as modern marriage or marriage of the day. An exgange economic deal. On the right the lord is pointing to his great lineage of meddivle times, fily tree. On the left his son in blue picking some snuff from a box looking at himself in a mirror. Looks like a dilletont. The woman behind he has. His back against her not making any attention. Silvertounge is a smooth talker. Everyone is benefited except for the young couple. Second Canavas: means face to face. The husband has comes home from a night of gambling, drinking and womanizing. The dog is sniffing at a woman's binnetm her wife looks flirtatious as if he'd lover has just left her bodest is opened ..music is symbol of pleasure. Commenting on the immorality of the couple. A merchant in the background is fed up of the couple s finance. C. Beginnings if industrial revolution as a result a widening if the middle class that wanted to buy art. Beginning to have art to widening middle class. Targeted the new middle class, concern of the eighteenth century marriages were arranged by economic benefit rather than love, suggesting that the family squandered their aristocratic fortune. And lord has to have his son marry the daughter of the wealthy merchant family to keep his fortunes and estates. In return the wealthy daughter gets in return the aristotic title. The woman is being talked into the marriage by silvetoung. Outside the building there is building constructed that he needs money to produce it. |
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N. Chartres Cathedral D. Original Construction 1145-1155 CE ; reconstructed 1194-1220 CE P/S. Gothic Europe A. OL. Chartres, France P. M/T. Limestone, Stained Glass F. DT. C. |
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N. Dedication Page with Blanche of Castile and King Louis IX of France, Scenes from the Apocalypse from Bibles Moralisées D. 1225-1245 CE P/S. Gothic Europe A. OL. P. M/T. Illuminated Manuscript ; ink, tempera, and gold leaf on vellum F. DT. C. |
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N. Röttgen Pietà D. 1300-1325 CE P/S. Gothic and Late Medieval Europe A. OL. P. M/T. Painted wood F. DT. C. |
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N. Arena (Scrovegni) Chapel, including Lamentation D. Chapel: 1303 CE; Fresco: 1305 CE P/S. 14th Century A. Unknown Architect; Giotto Do Bondone (Artist) OL. Padua, Italy P. M/T. Brick (architect) and fresco F. DT. C. |
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N. Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preparation for Passover) D. 1320 CE P/S. Gothic; Late Medieval Spain A. OL. Spain P. M/T. Illuminated Manuscript; pigments and gold leaf on vellum F. DT. C. |
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N. Alhambra D. 1354-1391 CE P/S. Gothic; Nasrid Dynasty A. OL. Granada, Spain P. M/T. Whitewashed adobe stucco, wood, tile, paint, and gilding F. DT. C. |
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N. Annunciation Triptych (Merode Altarpiece) D. 1427-1432 CE P/S. Northern Renaissance A. OL. Workshop of Robert Campin P. M/T. Oil on wood F. DT. C. |
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N. Pazzi Chapel D. 1429-1461 CE P/S. 15th Century A. Filippo Brunelleschi (Architect) OL. Basilica di Santa Croce. Florence, Italy P. M/T. Masonry F. DT. C. |
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N. The Arnolfini Portrait D. 1434 CE P/S. Northern Renaissance A. Jan Van Eyck OL. P. M/T. Oil on wood F. DT. C. |
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N. David D. 1440-1460 CE P/S. 15th Century A. Donatello OL. P. M/T. Bronze F. DT. C. |
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N. Palazzo Rucellai D. 1450 CE P/S. 15th Century A. Leon Battista Alberti (Architect) OL. Florence, Italy P. M/T. Stone, Masonry F. DT. C. |
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N. Madonna and Child with Two Angels D. 1465 CE P/S. 15th Century A. Fra Filippo Lippi OL. P. M/T. Tempera on Wood F. DT. C. |
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N. Birth of Venus D. 1484-1486 CE P/S. 15th Century A. Sandro Botticelli OL. P. M/T. Tempera on Canvas F. DT. C. |
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N. Last Supper D. 1494-1498 CE P/S. 15th Century A. Leonardo da Vinci OL. P. M/T. Oil on Tempera F. DT. C. |
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N. Adam and Eve D. 1504 CE P/S. Northern Renaissance A. Albrecht Dürer OL. P. M/T. Engraving F. DT. C. |
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N. Sistine Chapel with Altar Wall Frescoes D. 1508-1512 CE altar Frescos; 1536-1541 CE Fresco P/S. Renaissance A. Michaelangelo; Frescos OL. Vatican City, Italy P. M/T. Fresco F. DT. C. |
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N. School of Athens D. 1509-1511 CE P/S. Renaissance A. Raphael OL. P. M/T. Fresco F. DT. C. |
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N. Isenheim Altarpiece D. 1512-1516 CE P/S. Northern Renaissance A. Matthias Grünewald OL. P. M/T. Oil on Wood F. DT. C. |
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N. Entombment of Christ D. 1525-1528 CE P/S. Renaissance A. Jacopo da Pontormo OL. P. M/T. Oil on Wood F. DT. C. |
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N. Allegory of Law and Grace D. 1530 CE P/S. Northern Renaissance A. Lucas Cranach the Elder OL. P. N/A M/T. Woodcut and Letterpress F. Lutheran Reformation, DT. Protestantism, notion that heaven is reached through faith and God’s grace, two nude male figures appear on either side of a tree, "Gospel” right, law on the left, Six columns of Bible citations on the bottom Gospel (right): John the Baptist directs a naked man to both Christ on the cross in front of the tomb and to the risen Christ who appears on top of the tomb, acting out the Resurrection, stands passively, stripped down to his soul, submitting to God’s mercy Law (left): in foreground, skeleton and a demon force a frightened naked man into hell, group of prophets, including Moses, point to the tablets of the law, law alone, without gospel, can never get you to heaven, Christ sits in Judgment as Adam and Eve (in the background) eat the fruit, demonstrate that law leads inescapably to hell when mistaken for a path to salvation C. Iconoclast movement, single most important and influential image of the reformation, “how to get to heaven, and what role, if any, religious art could play", while producing the work the artist consulted with Martin Luther (leader of the movement), explains Luther’s ideas in visual form, events from both the New and the Old Testaments, roles of law, good works, faith, and grace in the human relationship to God. |
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N. Venus of Urbino D. 1538 CE P/S. Venitian A. Titian OL. P. M/T. Oil on Canvas F. DT. C. |
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N. Frontispiece of the Codex Mendoza D. 1541-1542 CE P/S. Renaissance A. Indigenous OL. Technochitlan, Mexico P. Viceroyalty of New Spain, Antonio de Mendoza M/T. Ink and Color on Paper F. Record information of the Aztec Empire, DT. organization and foundation of the Aztec capital, schematic diagram of Tenochtitlan, with the city divided into four parts by intersecting blue-green undulating diagonals, intended to mirror the organization of the universe, centered is an eagle on a cactus growing from the midst of a lake, below the cactus and stone in the middle of the drawing is a war shield, simple structure above indicates a temple, the right of the eagle is a simplified skull rack, plants, including maize, or corn, dot the city’s four quadrants, no doubt alluding to the agricultural fertility associated with the city. Ten men in the four quadrants, wearing white garments, displaying top knots in their hair (led the Aztecs to this island location). Tenoch, (seated to the left of the eagle), gray skin, different hairstyle, red mark around his ear. identify him as a priest, let blood from his ear as offerings to deities and ash covers his skin. Surrounding the entire page are year glyphs. Below the schematic diagram of the city are two scenes of military conquest C. contained information about the lords of Tenochtitlan, and an account of life “from year to year", annotated in Spanish by a priest that spoke Nahuatl, intended to send it to King of Spain Charles V, pirates stole the piece and ended in the hands of King Henry II of France, |
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N. II Gesù, including Triumph of the Name of Jesus ceiling Fresco D. Church: 16th Century CE ; Facade: 1569-1584 CE ; fresco and stucco figures: 1676-1679 CE P/S. Baroque A. Giacomo da Vignola, plan (architect); Giacomo della Porta, facade (architect); Giovanni Battista Gaulli, ceiling fresco (artist) OL. Rome, Italy P. M/T. Brick, Marble, Fresco, and stucco F. DT. C. |
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N. Hunters in the Snow D. 1565 CE P/S. Northern Renaissance A. Pieter Bruegel the Elder OL. P. M/T. Oil on Wood F. DT. C. |
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N. Mosque of Selim II D. 1568-1575 CE P/S. Baroque A. Sinan (Architect) OL. Edirne, Turkey P. Sultan Selim II M/T. Brick and Stone F. Spiritual Building for the Islamic religion, educational buildings, expressed Islam’s triumph DT. "Stacked domes, towering, slender minarets," (characteristics of ottoman architecture), length of about a little over two football fields, two symmetrical square madrasas (educational building (college for studying the hadiths, or traditions of the Prophet Muhammad)and a market) Mosque: square prayer hall entered through the peticoed courtyard (north façade), ethereal dome, features are subordinated to this grand dome, rests on eight muqarnas-corbelled squinches that are in turn supported by eight large Pier's. exterior buttresses support the east and west piers which are hidden among the exterior porticos and galleries Muqarnas :faceted decorative forms that alternately protrude and recess, commonly used in Islamic architecture to bridge a point of transition (the broad base of the dome above and the slender piers below),corbelled effect, illusion of a grandeur space, Squinches:architectural support, decorated by the muqarnas, transition from the dome down to the eight piers. allow round base of the dome to join octagon formed by the piers C. Patron was the son of Süleyman the Magnificent, favorite cities, was stationed here as a prince when his father campaigned in Persia. capital of the Ottoman Empire in the 15th century, fist major city Europeans encountered and was as a result they were trying to impress and show their power to foreign visitors, mosque to dominate the city (no competition), dome’s octagonal shape was probably influenced by the tomb of Öljeitü in Soltaniyeh, |
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N. Calling of St. Matthew D. 1597-1601 CE P/S. Baroque A. Caravaggio OL. P. M/T. Oil on Canvas F. DT. C. |
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N. Henri IV Receives the Portrait of Marie de' Medici from the Marie de' Medici Cycle D. 1621-1625 CE P/S. Baroque A. Peter Paul Rubens OL. Luxembourg Palace P. Marie de' Medici M/T. Oil on Canvas F. adorn one of the two galleries in the Luxembourg Palace, her newly-built home in Paris. DT. Hymen and Amor (Cupid), to the left and right, respectively—hover in midair as they present this portrait to Henry IV, the king of France. Hymen holds in his left hand a flaming torch, symbolizing the ardor of love, while Cupid extols the virtues of the Medici princess. Cupid’s arrow has hit its mark; the king is smitten. He gazes up in gratitude, his left hand extended as he expresses his delight in his bride-to-be. Jupiter and Juno, the king and queen of the Olympian gods, look down with approval, their own hands touching in a tender gesture of marital union. Jupiter’s fierce eagle, seen in the top left corner, looks away from the couple and clenches its lightening bolts in its talons. In contrast, Juno’s tamed peacock looks at the divine couple, while his mate cranes her neck to look at the portrait. Behind Henry stands the personification of France, wearing a blue silk garment embroidered with gold fleur-de-lys. She gently touches Henry’s shoulder and whispers in his ear, assuring him that a match with the Medici princess is indeed good for the kingdom. idealized C. even the king of the gods can be subdued by love. Following Jupiter’s lead, Henry must also turn his attention to marriage. dedication to the major life events of a queen, but it also includes events that were both quite recent and quite humiliating. |
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N. Self-Portrait with Saskia D. 1636 CE P/S. Baroque A. Rembrandt van Rijn OL. Dutch P. Rembrandt van Rijn M/T. Etching F. probably intended as an illustration of the idea that ‘love brings forth art’. DT. Rembrandt portrays himself here with his first wife, Saskia with a veil, and Rembrandt with a feathered beret C. Saskia with a veil, and Rembrandt with a feathered beret. It is the only that the artist is included with his own work. drawing, or possibly in the process of making an etching, while Saskia is seated by his side. As a result of the printing process the image is reversed. |
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N. San Carlo alle Quattro Fontane D. 1638-1646 CE P/S. Baroque A. Francesco Borromini (Architect) OL. Rome, Italy P. monks of the Trinitarian Order M/T. Stone and Stucco F. Religious site for worship DT. unusual and somewhat irregular floor plan in the shape of a Greek cross defined by convex curves. Its entrance and primary facade faces Northwest and opens onto a narrow street. A smaller, secondary facade angles off from the main entrance and incorporates one of the four fountains that already stood in the square.geometry and detail. Lines, angles and curves all come together in his plan. Curving lines, Movement, Play of light and shadow, Classical elements, Geometric shapes, Complex ornamentation, and Drama. The primary facade is joined by a smaller, secondary facade just to its right C.part of a small monastery for a community of Spanish monks. Translates to St. Charles at the Four Fountains. 66 feet wide and 39 feet long. Most of the interior space is dedicated to the oval sanctuary where the monks and their guests worship. Steps lead down to a crypt with burial places and more chapels. |
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N. Ecstasy of Saint Teresa D. 1647-1652 CE P/S. Baroque A. Gian Lorenzo Bernini OL. Cornaro Chapel, Church of Santa Maria Della Vitorria , Rome, Italy P. M/T. Marble (Sculpture); stucco and gilt Bronze (Chapel) F. DT. C. During the era the patronizing and worship of saints |
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N. Angel with Arquebus, Asiel Timor Dei D. 17th Century CE P/S. Baroque A. Master of Calamarca (José López de los Ríos) OL.(La Paz School), Peru P. Unknown M/T. Oil on Canvas F. To depict the power of Spanish viceroyalty DT. Guns, angels and fashion. harquebus is a firearm. C. First appearing in Peru. Representing celestial, aristocratic, and military beings all at once, these angels were created after the first missionizing period, as Christian missionary orders persistently sought to terminate the practice of pre-Hispanic religions and enforce Catholicism. forefront of military weapon technology at the time. This painting was found by itself, but was likely part of a larger series that included angels performing other activities such as drumming and holding lances |
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N. Las Meninas D. 1656 CE P/S. Baroque A. Diego Velázquez OL. Spain P. King Felipe IV M/T. Oil on Canvas F. To assert the power if the king DT. Infanta Margarita has dropped in to see Velazquez at work. She stops right next to him, at the center of the foreground of the painting, but she seems perplexed. Velazquez spotted Infanta Margarita’s psychological perplexity in front of the large window of his studio and analyzed her behavior. Next we see that the King and the Queen are reflected in the back wall mirror of his studio. Therefore we assume that Velazquez is painting the portrait of the royal couple who is standing behind his easel.Infanta Margarita is the center of attention. The painting represents a scene from daily life in the palace of Felipe IV. C. Spanish for the Maids of Honor. portrait of Infanta Margarita, the daughter of King Philip IV, and his second wife Mariana of Austria. Infanta Margarita is definitely not posing for her portrait. One of the most famous paintings of kind Felipe however hr is not directly in the portrait. |
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N. Woman Holding a Balance D. 1664 CE P/S. Baroque A. Johannes Vermeer OL. Dutch P. Unknown M/T. Oil on Canvas F. To remind of judgment day. Religious views DT. woman dressed in a blue jacket with fur trim stands serenely at a table in a corner of a room. The scales in her right hand are at equilibrium, suggestive of her inner state of mind. Las judgment painting sits in the behind if the wall. The expression if the woman is pensive. Juxtaposition to judge is yo make the scale weigh. C. religious implications . first examine their conscience and weigh their sins as if facing Judgment Day.allegorically urges us to conduct our lives with temperance and moderation. The woman is poised between the earthly treasures of gold and pearls and a visual reminder of the eternal consequences of her actions. |
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N. The Palace of Versailles D. Begun 1669 CE P/S. Baroque A. Louis Le Vau and Jules Hardouin-Mansart (Architect) OL. Versailles, France P. King Louis XIV M/T. Masonry, Stone, Wood, Iron, and Gold Leaf (Architecture); Marble and Bronze (Sculpture); Gardens F. Versailles was meant to emphasize Louis’s importance. DT. over-the-top excesses of the French nobility. 700 rooms, 2,153 windows, and takes up 67,000 square meters of floor space. massive gardens built along an East/West axis so the sun would rise and set in alignment with his home. gardens with sculpture, painting, and fountains. room of marble and gold and paintings. ceilings painted to place Louis in the company of the Greek gods, ceilings painted to place Louis in the company of the Greek gods, palace’s outside isn’t as ornate as its inside. basic structure is classical symmetrical, repetitive, C. King of France, Louis XIV, first decided to build a new palace and move his court out of Paris, over-the-top excesses of the French nobility. shifted the seat of French government away from the feuding, gossiping, trouble-making noble families in Paris. the Treaty of Versailles that officially ended World War I was signed here in 1919. classical architecture was intended to remind people of the greatness of the antique Greek and Roman past. The Apollo Fountain and Apollo Salon remain two of the major highlights of a visit to Versailles. |
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N. Screen with the Siege of Belgrade and Hunting Scene D. 1687-1701 CE P/S. Baroque A. Unknown Unknown Unknown OL. most likely displayed in Mexico’s viceregal palace, P. Circle of the González Family. José Sarmiento de Valladares, viceroy of New Spain M/T. Tempera and Resin on Wood, Shell Inlay shell-inlay paintings F. divided a ceremonial state room from a more intimate sitting room DT. biombo enconchado, folding screens with Shell Inlay shell-inlay paintings. scene from the Great Turkish War. front side was an ideal propagandistic backdrop of Habsburg power for the reception of the viceroy’s official international visitors. decorative hunting scene on the reverse, C. after a Dutch print. |
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N. The Virgin of Guadalupe (Virgen de Guadalupe) D. 1698 CE P/S. Baroque; 16th Century CE A. Miguel Gonzalez OL. Basilica de Guadalupe, Mexico City P. Basilica de Guadalupe M/T. Oil on Canvas on Wood, inlaid with mother-of-pearl F. Religious worship DT. Based on the original Virgen of Guadalupe. averts her gaze and clasps her hands together in piety. stands on a crescent moon, and is partially supported by a seraph (holy winged-being) below.brilliant blue cloak over her dress. Embroidered roses decorate her rose-colored dress. Golden stars adorn her cloak and a mandorla of light surrounds her. twelve golden rays frame her face and head, a direct reference to the crown of stars. C.Virgin Mary became one of the most popular themes for artists after Spanish conquest believed the fist image was divinely created. aspects of its symbolism from the Book of Revelation and the Song of Songs. millions travel annually to her basilica to glimpse the original image. She requested that Juan Diego ask the bishop, Juan de Zumárraga, to construct a shrine in her honor on the hill. After speaking again with Guadalupe on two other occasions, she informed Juan Diego to gather Castilian roses—growing on the hillside out of season—inside his tilma, or native cloak made of maguey fibers, and bring them to the bishop |
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N. Spaniard and Indian Produce a Mestizo D. 1715 CE P/S. Baroque A. Attributed to Juan Rodriguez Juarez OL. New Spain P. Viceroys, or the stand-in for the Spanish King in the Americas M/T. Oil on Canvas F. document the inner-ethnic mixing occurring in New Spain among Europeans, indigenous peoples, Africans, and the existing mixed-race population. DT. Spanish father and Indigenous mother with their son, belongs to a larger series of works. attempts to capture reality, yet they are largely fictions. first position of the casta series is always a Spanish man and an elite Indigenous woman. dressed in a beautiful huipil (traditional woman’s garment worn by indigenous women from central Mexico to parts of Central America) . Her husband, who wears French-style European clothing C. Spaniard and the Indian is born the mestizo. second half of the eighteenth century. known as pinturas de castas, or caste paintings, modeled on depictions of the Holy Family. Casta paintings are often labeled with a number and a textual inscription that documents the mixing that has occurred. Enlightenment concerns, specifically the notion that people can be rationally categorized based on their ethnic makeup and appearance. some of the names used in casta paintings to label people demonstrate social anxiety over inter-ethnic mixing and can often be pejorative. the more European you are, the closer to the top |
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N. The Tête à Tête, from Marriage à la Mode D. 1743 CE P/S. Baroque A. William Hogarth OL. England P. Unknown M/T. Oil on Canvas F. To depict the social immoralities of English middle class DT."Breakfast Scene' . one of the scenes of a series of sic paintings that satirize the immoralities practiced within marriage by the moneyed classes in England. Marriage is beginning to fall apart. The couple is tired after a night of separate pursuits. Wife stayed home and husband was away. His hands are deep inside his empty pockets, meanwhile the dog is sniffing away at another's lace napkin. Meanwhile the man in the foreground is looking up with bills in his hands pleading to the lord in despair for the mistress and mister action. The paintings on the walls ( religious figures and erotic subject) suggest the disfunctional marriage. The erotic painting can be hidden by the curtain but could be visibly visible whenever they pleased. C. Hogarth expressed satirized contemporary life with comic zest and with only a modicum of Rococo (indecency). Inspired by contemporaries across the Chanel, France etc. But his subject matter was strictly English in moral tone. Made a series of paintings and prints, in a sequence like chapters in a book or scenes in a play , that followed a group of characters. In their encounters with social evils. Designed to be series of engravings very popular. |
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