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Reliquary of St. Foy
includes part of body of holy individual (St. Foy)
people would circumambulate it
Romanesque (late 10th century)
gold, silver, precious gemstones, and enamel over a wooden core

Church of Sainte-Foy
barrel-vaulted nave
less light
pilgrimage church
Romanesque (1050-1130)
Stone
Conques, France

Last Judgement Tympanum, Church of Sainte-Foy
Christ, devils on one side, priets on the other
row of angels weight the souls of the dead
a “warning” about joys of heaven and torments of hell

Lindisfarne Gospel
sacred riddle
Medieval Europe (ca. 698-721)
Northumbria, England
Tempera on Vellum
The Vienna Genesis
continuous narration
Byzantine (early 6th century)
tempera, gold and silver on purple vellum,

Calling of St. Matthew
“moment” of spiritual awakening
earthbound people; naturalism in figures’ bodies
Christ covered by St. Peter (founder of Church)
Matthew identifiable by only gesture and light
tenebrism; high contrast; involving
Italian Barocque (1597-1601 CE)
Caravaggio
Oil on canvas

Judith Slaying Holofernes
realistic deipction of blood, fabrics
high contrast/intensity; tenebrism
in movement
Italian Barocque (1620-21)
Artemesia Gentileschi
oil on canvas

Ecstasy of St. Teresa of Avila
enraptured; angel about to puncuterher with spear
twisted columns
bronze rods extend downward, imitating light
sexxual symbolism
express personal relationship with God (Protestant motto against Catholics)
Italian Baroque (1647-52)
Bernini
Cornaro Chapel, Rome
solid marble

Self Portrait with Two Circles
extremely versatile
dark colors & impasto build comlexity
late in career
10% of works are self-portraits - showed painter’s technique
Dutch Baroque (1606-1669)
Rembrandt
oil on canvas

The Girl with the Pearl Earing
tronie: portriat that captured expression/emotion
nameless girl
Dutch Baroque (1665)
Johannes Vermeer
oil on canvas