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31 Cards in this Set
- Front
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-ID: Clayse Sluter, Well of Moses Chartreuse de Champmol, Diojon, France, 1395-1406. Limestone, painted and Gilded, Moses 6' high.
-Stylistic pd.: Quatrecento Subject Ico.: Symbole of life made for the duke of Burgundy Represents Moses, David, Daniel, Isaiah, Jeremiah, and Zachariah (prophets), along with Christ on the cross, Mary Magdalene, the Virgin Mary, and John the Evangelist Fons vitae- fountain of everlasting life Christ washes away sins -Style/Techn.: Realistic, high relief sculpture, individual personalities, naturalistic -Sign./Func./Purp.: The well served as a water source for the monastery |
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-ID: Hubert and Jan Van Eyck, Ghent Altarpiece, Saint Bavo Cathedral, Ghent Belgium, completed 1432. Oil on wood, 11'5" X 7'6"
-Stylistic pd.: Quatrecento -Subject Ico.: Husband and wife kneeling with hands clasped in prayer as they gaze at Saint Joohn the Baptist and Saint John the Evangelist Original sin of Adam and Eve Representation of a flemish town God the father Old Testament prophets Mythological prophets -Style/Techn.: Illusion, 3D, storyboard -Sign./Func./Purp.: Commissioned as the centerpiece of the chapel Vyd To Amplify the central theme of salvation (God sacrifices his son to save all from sin) |
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-ID: Jan Van Eyck, Man in a Red Turban, 1433. Oil on wood. 1' 1 1/8" X 10 1/4"
-Stylistic pd.: Quatrecento -Subject Icon.: Self portrait of Van Eyck as he depicted himself in the mirror Views himself as a succssor to the fabled painters of antiquity -Style/Technique- realism, dull, illusionist stare -Sign./Func./Purp.- secular interpretation Demonstration piece for prospective clients who compare the painter with the painting and could judge what he "could do" in terms of recording faithful likeness |
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-ID: Rogier Van Der Weyden, Deposition, Center Panel of a Triptych from Notre-Dame Hors-les-murs, Louvain, Belgium, ca. 1435. Oil on wood 7' 2 5/8" X 8' 7/8".
-Stylistic pd.: Quartrecento -Subject Ico.: Representation of the Virgin and several of her half-sisters, Nicodemus, Saint John the Evangelist, Mary Magdalene, and Joseph of Arimathea Mary and Christ have similar poses -> Mary suffered the same pain as her son at crucifixion -Style/Techn: Expression, romanticized, emphasis, unity -Sign./Func./Purp.: Its purpose is to express maximum action within a limited space and to create an immediate and unforgettable emotion effect on the viewer |
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-ID: Petrus Christus, A Goldsmith in His Shop. Oil on wood, 3'3" X 2'10".
-Stylistic pd.: Quartrecento -Subject Ico.: Saint Eligius is portrayed sitting in his stall, showing a couple a selection of rings Bride's bethrothal girdle on table represents chastity -Style/Techn.: Natural, symbolism -Sign./Func./Purp.- Illustrates an economic transaction Its purpose focuses on the goldsmith's profession specificallt for the guild chapel |
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-Id: Dirk Bouts, Last Supper, central panel of the Altarpiece of the Holy Sacrament, Saint Peter's, Louvain, Belgium, 1464-1468. Oil on wood, 6' X5'
-Stylistic pd.: Quatrecento- Late Flemish painting -Subject Ico.: Christ is represented as a priest performing a ritual from the liturgy of the Christian Church Portrayal of 4 servants who contracted Bouts to paint the altarpiece -Style/Technique: vanishing point, linear perspective, naturalism, asymmetrical -Sign./Func./Purp- Dedicated to the worship of the Eucharist and depicts Old Testament prefigurations of the Eucharist |
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-ID: Robert Campin (Master of Flemalle), Merode Altarpiece, ca. 1425-1428.
Oil on wood, central panel 2' 1 3/8" X 2' 7/8", each wing 2' 1 3/8" X 10 7/8". -Stylistic pid.: Quatrecento - Late Flemish painting -Subject Ico.: The Annunciation The book, lilies, towels, candle, copper basin, benchm and fire screen symbolizes the Virgin's purity and divine mission Mousetraps symbolize Chris as bait set in the trap of the world to catch satan Closed garden symbolizes Mary's purity Flowers symbolize Mary's virtues -Style/Techn.: illusion, 3D, storyboard, expression, use of a variety of colors -Sign./Func./Purp.: Used for household prater; images of both religious and secular concerns |
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-ID: Hugo Van Der Goes, Portinari Altarpiece, from Sant'Egidio, Florence, Italy, ca.1476. Tempera and oil on wood, central panel 8 '3' 1/2" X 10', each wing 8' 3 1/2" X 4' 7 1/2"
Stylistic pd.: Quartrecento - Late flemish Subject Ico.: Portinari with his family and their patron saints Adoration of the shepherds Virgin, Joseph, and angels brood on the suffering to come Iris and columbine flowers symbolize sorrows of the Virgin Angels symbolize 15 joys of Mary Arrival of the Magi Flight into Egypt Harp of David symbolizes ancestry of Christ -Style/Techn.: realistic, unity, deep impression -Sign./Func./Purp.: Triptych painted for Tommaso Portinari for the Medici family of Florence Work characterizes human beings according to their social level while showing their common humanity |
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-ID: Jan Van Eyck, Giovanni Arnolfini and His Wife, 1434. Oil on wood, 2'9" X 1' 10 1/2".
-Stylistic pd.: Quartrecento -Subject Ico.: Depiction of the Lucca financier in his home Arnolfini holds his second wife's hand as they take their marriage vows Little dog = fidelity Bedpost's finial = patron Saint of childbirth (Margaret) whisk broom = domestic care Oranges = fertility Scenes from Passion of Christ God's promise of salvation -Style/Techn.: realistic, symbolism, gesture -Sign./Func./Purp: To record and sanctify the marriage and for Arnolfini to confer legal privileges on his wife to conduct business in his absence, Artist functions as a witness |
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-ID: Limbourg Brothers (ol, Herman, Jean), October and January, from Les Tres Riches Heures du Duc de Berry, 1413-1416. colors and ink on vellum, 8 7/8" X 5 3/8".
-Stylistic pd.: Quartrencento - French Manuscript Painting -Subject Ico. - Represents the 12 months in terms of seasonal tasks, alternating scenes of peasantry and nobility Lunette-> depiction of zodiac signs and chariot of the sun making its yearly cycle through heaven. -Style/Techn.: variety of color, natural figures (October-asymmetrical and January- stylized) -Sign./Func./Purp.: Religious book that captures the power of the dulce and his relationship to the peasants Reflected the increasing integration of secular and religious concerns in art and life |
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-ID: Jean Fouquet, Melun Diptych. Left- Etienne Chevalier and Saint Stephen, ca. 1450, Oil on wood.
Right- Virgin and Child, ca. 1451. Oil on wood -Stylistic pd.: Quartrecento - French panel painting -Subject Ico.: Left panel: Chevalier with his devout patron, St. Stephen Chev kneels with hands clasped in prayers, St. Stephen holds stone of his martyrdom on rop of bible Right: Mary and son -Style/Techn.: left panel (3-quarter stances, realism) right panel (natural, marble-like flesh) -Sign./Func./Purp.: Allows patron to bear witness to the sacred Integration of secular and sacred Commissioned painted after Sorel's death |
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- Veit Stoss, Death and Assumption of the Virgin, altar of the Virgin Mary, church of Saint Mary, Krakow, Poland, 1477-1489. Painted and gilded wood, central panel 23'9"hgih.
-Stylistic pd.: Quartrecento -Subject Icon.: Huge carved and painted figures in central box like shrine = death and assumption of Mary Scenes from lives of Chris and Mary on wings Disciples congregate around Mary, who has collapsed and is dying -Style/Techn.: carving, emotion, expression, realism, unity, animation |
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-ID: Martin Schongauer, Saint Anthony Tormented by Demons, ca. 1480-1490. Engraving, 1' 1/4" X 9"
-Stylistic pd.: Quartrecento- Graphic Arts -Subject Icon.: Saint is stuck in a revolving thorn-bush of demons who are clawing and tearing at him -Style/Technique.: cross-hatching, edition, use of lines, shading, no color |
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-ID: Filippo Brunelleschi, Sacrifice of Isaac, Florence Italy, 1401-1402. Gilded bronze, 1'9" X 1' 5 1/2"
-Stylistic pd.: Quartrecento -Subject Icon.: Abraham is lunging forward, and the robes are flying as Isaac's throat is exposed to a knife The angels interrupt the sacrifice Abraham is about to make -Style/Techn.: Emotion, high relief, humanism -Sign./Func./Purp.: serves as the center of God's order to Abraham to sacrifice his son Isaac as a demonstration of Abraham's devotion Shows a comparison of freedom being the distinguishing virtue in the story of Abraham and his son and Viscontini and Florence |
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-ID: Lorenzetti Ghiberti, Sacrifice of Isaac, Florence, Italy, 1401-1402. Gilded bronze, 1'9" X 1' 5 1/2"
-Stylistic pd.: Quartrecento -Subject Ico.: Abraham contemplates the act he is about to perform -Stlye/Techn.: Gothic pose, nudity, dramatic, detailed body, humanism -Sign./Func./Purp.: Wins competition and becomes panel for east doors of the Baptistery of San Giovanni serves as the center of God's order to Abraham to sacrifice his son Isaac as a demonstration of Abraham's devotion |
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-ID: Donatello, Saint Mark, Or San Michelle, Florence, Italy, ca. 1411-1413. Marble, figure 7'9" high.
-Stylistic pd.: Quatrecento -Style/Technique: Contrappasto, density, motion, natural, mobile drapery, unity -Sign./Func./Purp.: carved for Or San Michelle's niche Executed for the guild linen makers and tailors |
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-ID: Andrea Del Verrocchio, David, ca. 1465-1470. Bronze, 4' 1 1/2" high.
-Stylistic pd.: Quartrecento -Subject Icon.: David is depicted as a hero as Goliath's head lies at his feet -Style/Techn.: realism, expression, high relief sculpture -Sign./Func./Purp.: serves as a representation of the biblical figure and is appropriated by civic officials for use |
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-ID: Antonia Del Pollauolo, Hercules and Antaeus, ca. 1470-1475. Bronze 1'6"high with base.
-Stylistic pd.: Quartrecento -Subject Ico.: Gattamelata sits on a horse with great magnificence Man and horse together create an image of irresistible strength and unlimited power Left forefoot of horse on an orb = hegemony over the earth -Style/Technique: Realistic, Roman influence, foreshortening -Sign./Func./Purp.: A commemorative monument honoring Venetian condottieve Erasmo da Narni (Gattamelata) |
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ID: Andrea Del Verrocchio, Bartolommeo Colleoni (equestrian statue), campo dei Santi Giovannie Paolo, Venice, Italy, ca. 1481-1496. Bronze 13' high.
Stylistic pd.: Quartrecento Subject Icon.: A bold equestrian statue placed on a pedestal The horse in a prancing stride with its neck curved and arched as the commander begins to rise from the saddle with a violent twist to the body Style/Technique: realistic, foreshortening Sign./Func./Purp.: An equestrian statue honoring a condottiere who fought for the Venetians |
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ID: Masaccio, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1424-1427. Fresco, 8' 4 1/8" X 19' 7 1/8"
Stylistic pd.: Quartrecento Subject Ico.: Disciples surround Jesus Jesus tells Peter to retrieve coin from fish Tax collector awaits payment Peter extracts coin from fish and pays tax collector Style/Techn.: Use of light, intensity, solemn, weighty and freely moving figures, realism, naturalism, spacious landscape, perspective, distance Sign./Func./Purp.- A fresco painted in the family chapel sponsored by Felice Brancacci in Santi Maria del Carmine, in Florence, that depicts an episode from the Gospel of Matthew (17:24-27) |
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ID: Masaccio, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1424-1427. Fresco, 21' 10 5/8" X 10' 4 3/4"
Stylistic pd.: Quartrecento Subject Icon.: Virgin and Saint John appear on the sides of the crucified Christ God emerges from behind Christ to support the arms of the cross and also to present his son to the worshipers as a devotional object Style/Technique: natural, illusion, perspective, vanishing point, asymmetrical, foreshortening, proportion, unity, harmony Sign./Func./Purp.: Conveys one of the central tenets of Christian faith Leads viewer from the despair of death to the hope of resurrection and eternal life through Christ's crucifixion |
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ID: Fra Angelica, Annunciation, San Marco, Florence, Italy, ca. 1438-1447. Fresco 7'1" X 10'6"
Stylistic pd.: Quartrecento Subject Icon.: the scene of the Virgin Mary and the Archangel Gabriel with serenity and simplicity Style/Techn.: Humanism, plain, loggia, simplicity Sign./Func./Purp.: The Dominicans of San Marcos' focus is to serve the Roman Catholic Church |
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ID: Andrea Del Castagno, Last Suooer, refectory of the monastery of San't Appolonia, Florence, Italy, 1447. Fresco 15' 5" X 32'
Stylistic pd.: Quartrecento Subject Icon.: Jesus and his 12 disciples at the last supper Style/Techn.: perspective, illusion, 3-D, dramatic Sign./Func./Purp.: The last meal Christ had with his disciples before being crucified |
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ID: Fra Filippo Lippi, Madonna and Child with Angels, ca.1460-1465. Tempera on wood, 2' 11 1/2" X 2'1"
Stylistic pd.: Quartrecento Subject Icon.: The Virgin sits in prayer Christ is held up by 2 angels All figures= reflection of live model's Style/Techn.: linear, unity, romanticized, realism, humanism, expression Sign./Func./Purp.: A religious and secular painting that depicts scenes from the lives of the Virgin and Saint John the Baptist and represent high rank for the choir of Santa Maria Novella |
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ID: Domenico Ghirlandaio, Birth if the Virgin, Capella Maggiore, Santa Maria Novella, Florence, Italy, ca.1485- 1490
Stylistic pd.: Quartrecento Subject Icon.: Mary's Mother Midwives prepare infant's bath Procession of women Living persons of high rank Style/Techn.: natural, statuesque figures, clear spatial representation Sign./Func./Purp.: A religious and secular painting that depicts scenes from the lives of the Virgin and Saint John the Baptist and represent high rank for the choir of Santa Maria Novella |
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ID: Paolo Uccello, Battle of San Romano, ca. 1435- pr ca. 1455. Tempera on wood, 6' X 10'15"
StylISTIC pd.: Quartrecento Subject Icon. Niccola da Tolentino leads the charge against the Siense Bright orange fruit aka "medici" which means"doctors" = family Tolentino's military Style/Technique: international style, perspective,foreshortening Sign./Func./Purp.: Commemorates the Florentine victory over the Siense in 1432. |
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Antonio Del Pollaiuolo, Battle of Ten Nudes, ca. 1465. Engraving, 1' 3 1/8" X 1'11 1/4"
Stylistic pd.: Quartrecento Subject Icon.: The body is a powerful machine Nude figures in violent actions Style/Technique: foreshortening, realism, asymmetrical, motion, ecorche Sign./Func. Purp.: shows Pollaiuolo how muscles and sinews activate the human skeleton |
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ID: Leon Battista Alberti, west facade of Santa Maria Novella, Florence, Italy, 1456-1470.
Stylistic pd.: Quartrecento Subject Icon.: Expressed the organization of the structure attacked to it Style/Techn.: proportion, geometric, use of simple numerical ratios Sign./Func./Purp.: Revival of the true spirit of the Hig Classical age of ancient Greece |
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ID: Oerugino, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistene Chapel, Vitican, Rome, Italy, 1481-1483. Fresco 11' 5 1/2" X 18' 8 1/2"
Stylistic pd.: Quartrecento Subject Icon.: Christ hands the key to Saint Peter 12 apostles and Renaissance contemporaries Scene from Christ's life Arches descore the close ties between Saint Peter and Constantine Style/Techn.: 2-D and 3-D space, parallel and converging lines, asymmetrical, vanishing point Sign./Func. Purp.: contribution to the Sistine Chapel |
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ID: Andrea Montegna, ceiling of the camera picta (painted chamber), Palazzo Dulcale, Montua, Italy, 1465-1474. Fresco, 6' 9"
Stylistic pd.: Quartrecento Subject Icon.: The viewers become the viewed Figures look down into the room from painted oculus Peacock= attribute of Juno (Jupiter's bride) who oversees laws and marriages Style/Techn: illusion, realism, experimentalism, perspective, foreshortening Sign./Func./Purp.: to organize Ludovico Gonzaga and his family |
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ID: Andrea Mantegna, Foreshortened Christ (Lamentation over the Dead Christ), ca. 1500. Tempera on canvas, 2' 2 3/4" X 2' 7 7/8"
Stylistic pd.: Quartrecento Subject Icon.: Depiction of a biblical tragedy 2 people mourn by Christ's side Creation of a work of overwhelming power Sign./Func./Purp.: To stir up emotion and serves the purpose of devotion |
