A/HI 315 Quiz #1 Images

San Damiano crucifix
Circa 1100
Tempera on wood

San Damiano crucifix
Circa 1100
Tempera on wood

-Maniera greca
•Miraculous interaction with St Francis
•This is an example of Christus triumphans (he is not struggling)

Coppo di Marcovaldo
Madonna and Child
Circa 1265
Tempera and gold on wood

•Maniera greca
•Icon
•Typical of pre-Renaissance compositions

Nicola Pisano
Pulpit (detail)
Pisa Baptistery
1260
Marble

•classical and gothic form of art
•naturalistic figures
•Virgin is similar to Etruscan figures•Personification of fortitude

Nicola Pisano
Pulpit (detail)
Pisa Baptistery
1260
Marble

• full frontal controposto nude
•Hercules-like heroic classicizing nude in
church, consider the Church’s fraught
relationship with the body over time
- classical antiquity

Giovanni Pisano
Pulpit (detail)
Pisa Cathedral
1297-1301
Marble

-Personification of prudence on right
•Venus pudica body style
•Another classicizing nude incorporated
into church decoration

Cimabue
Santa Trinita Maestà
Circa 1290-1300
Tempera on panel

-Moving away from maniera greca
•virgin and baby jesus is looking exactly at you like they are speaking to viewer
•Virgin’s foot coming into viewer’s space creating depth

Giotto
Ognissanti Maestà
Circa 1310
Tempera on panel

• complicated 3D space
•Virgin seems to be speaking to viewer
•Shows the changer and representation of new Madona and child

Giotto
Crucifix
Circa 1310
Tempera on panel

•storytellling aspect from top to bottom

-empasizing blood and suffuring and humanity of Christ
•Emotional and body is more naturalistic by the form

Giotto
Scrovegni Chapel, Padua
Circa 1303-1306
Fresco

•Chapel for Scrovegni family
•Complex and meaningful relationship
between juxtaposed fresco scenes
•Giotto experiments with space, depth, and
narrative, showing his learning and skill

Giotto
Last Judgment
Scrovegni Chapel, Padua
Circa 1303-1306
Fresco

•Enrico Scrovegni was a usurer, and was
worried about his eternal soul
•Chaotic hell scenes emphasize
connections between money and sin
•Votive portrait of Enrico donating the chapel

Simone Martini
Annunciation
Circa 1330
Tempera and gold on panel

•a possible French Gothic influence?
•Pregnant space between angel and Virgin
•Narrative altarpiece

Duccio
Maestà
1308-1311
Tempera on panel

•more modern and beautiful than miracle-working icon
•Multi-panel polyptych with many narrative
scenes
•Duccio’s signature

Pietro Lorenzetti
Birth of the Virgin
1342
Tempera on panel

•Narrative altarpiece
•Contemporary interior
•Continuation of space across triptic

Ambrogio Lorenzetti
Allegory of Good Government
Palazzo Pubblico, Siena
1338
Fresco

• frescos to instruct and guide Siena’s
governing body
•Good and bad government’s effects on the city
and countryside
-sense of communial values, justice and the importance of community in sienna

Lorenzo Ghiberti
The Sacrifice of Isaac
1401-1403
Gilded bronze

•Wins the competition for the baptistery
door commission
•Isaac as classicizing nude figure
•All figures cast as one unified piece

Filippo Brunelleschi
The Sacrifice of Isaac
1401-1403
Gilded bronze

•Loses baptistery door commission
•less detailed, softer and more 2D than Ghibertis
•Heavier than Ghiberti’s, composed in
multiple pieces

Lorenzo Ghiberti
Saint John the Baptist
Orsanmichele, Florence
Circa 1410
Bronze

•Lost wax casting
•Competition with the ancients, largest
bronze in Italy since antiquity
•Rather gothic apperence with the goopy eyes and spooky silver eyesthe light

Donatello
Saint Mark
Orsanmichele, Florence
1411-1413
Marble

• non finito backside
•Natural Contrapposto, active step
•naturalistic handling of fabric

Nanni di Banco
Four Crowned Saints
Orsanmichele, Florence
Circa 1413-1414
Marble

•Sculptors’ guild commission, their patron
saints
•Acient like figures will all different characteristics
•Relief shows the artist and other sculptors of the pedistol

Donatello
Saint George
Orsanmichele, Florence
Circa 1415-1418
Marble

•Looking behind the viewer at the dragon?
•Activation of space..with him looking forward past the viewer
•Relief depicts proto-perspectival space

Filippo Brunelleschi
Dome of Santa Maria del Fiore
Florence
1423-1438

• Engineering project for Brunelleschi
• double-shell dome and pointed arches
•Many engineering inventions during its
building process

Filippo Brunelleschi
San Lorenzo
Florence
1418-1459

•Classisizing elements coming from christian antiquity rather than pagan antiquity
•plan is simplified, symmetrical and logical
• private chapel is presented for the family who bought the church

Lorenzo Ghiberti
Jacob and Esau
Florence Baptistery (detail)
1425-1452
Gilded bronze

•10 big panels on the baptistery doors
•Depth of relief shows multiple stages of narrative
• Shows Ghiberti following Albertis rules of art with tequnique and skill

Masaccio
The Tribute Money
Brancacci Chapel
Santa Maria del Carmine
Florence
1426-1428
Fresco

•3 part narrative which starts at center, left and then right
•Perspectival space, naturalistic setting
•Jesus as vanishing point

Masaccio
Expulsion from the Garden of Eden
Brancacci Chapel
Santa Maria del Carmine
Florence
1426-1428
Fresco

•Venus pudica body movement
•Naturalistic bodies, not idealized nudes
•Giornata lines

Masaccio
The Trinity
Santa Maria Novella
Florence
1425-1428
Fresco

• vanishing point on Jesus
•Illusionistic chapel
•Memento mori

Gentile da Fabriano
Adoration of the Magi
1423
Tempera and gold on pane

•Influence of Gothic?
•Not using strict Brunelleschian perspective
•Gold leaf and Lapiz lazuli shows a new value to the paitning

Pisanello
Drawing for Vision of Saint Eustace
Pen and ink with black chalk on paper
Circa 1434-1442

•follows Alberti’s rules in practice drawing
•Drawing disegno to prep for painting
• makes drawings for a variety of
figures to return to and maybe use later

Andrea del Castagno

saint Jeromes vision of the trinity

santissima annunziata

fresco, florence circa 1453

• working out how to depict a vision, fusing supernatural and natural

• two planes of reality

• forshortning

Bernardo Rossellino

Eucharistic tabernacle

marble and bronze

1449

• perspective presentation

• conserated Eurcharist as vanishing point

• visual focus of devotion, radiating holiness

Fra Angelico

San marco altarpiece

1438-1443, tempera on panel

• Curtains revealing a vision

• first altarpiece in one point perspective

• virgins womb as vanishing point

• possible memento mori

Fra angelico

Noli me tangere

convent of san marco, florence

fresco

• Monks private room

• dissemblance, making sense out of nonsence

• flowers on the ground can signify Jesus blood and his wounds specifcially 5 of them) aka called stigmata

Donatello david

bronze

• Archaizing, classicizing nude

• first freestanding lifesize male

• breaking with tradition depicting david naked

• controversial and talked about a lot

Benozzo Gozzoli

procession of the Magi (detail)

palazzo medichi-Riccardi

florence, fresco

• Portraits of medichi family and friends

• richness of detail wins out over strict perspectival space

• processing toward altarpiece

• rich of detail and an example of a maximalist piece

Leon battista alberti

tempio malastiano

rimini

• christian church dressed up like a pagan temple, archaizing style

• movign away from christian ideas

• devoted to malesta rather than jesus

andrea mantegna

camera picta, plazzo ducale

mantua, fresco

• Gonzaga family portraits eyes dont meet viewier gaze

• emphasis on gonzaga legacy and legitimacy

• illuonistic forshaddowing

Piero della francesca

battista sforza and frederico da montefeltro

• standard quattrocentro profile format

• allegorical, triumphal imagery on backside

• woman is idealized versus the man who isnt idealized

Donatello

gattemelata monument

padua

bronze

• engaging with ancient equestrian portrait

• fusion of ancient and contemporary armor

• activating horse by lifting its hoof with a cannonball

• contemporary warfare with ancient forms

andrea mantegna

lamentation over the dead christ

tempera on canvas

• extreme foreshortening

• emotionally involving the viewer

• emphasizing the humanity of christ

Niccolo dell’ arca

lamenation

santa maria della vita

bologna, terracotta

• Dynamic and emotionally charged

• frantic, emotional depiction of the virgin

• terracotta allows niccolo to take more sculptural and structural risks

Domenico Ghirlandaio

the birth of john the baptist

tornabuoni chapel

santa maria novella

florence, fresco

• Warburgs nympha figure

• tornabuoni family portraits

• fusing the antique with contemporary florence

Pietro perugino

the charge to peter

sistine chapel

vatican city, fresco

• visualizing the church’s authority, line of succession from the popes back to christ

• one point prespective

• archaizing setting

• brunelleschian inspired church/chapel in the back

Piero di cosimo

portrait of a woman

oil on panel

• standard quattrocento profile format

• allegorical portrait as cleopatra

• state of undress is intresting because this portrait of florentine woman is a lady of status which is not common for her to be showing skin

Sandro Botticelli

primavera

tempera on panel

• venus genetrix as godess of fertility themes of motherhood, garden, spring

• medici wedding present?

• historia vs. ut pictura poesis

• reads from right to left

• suttle hierachy

sandro botticelli

the birth of venus

tempera on canvas

• perhaps for a cassone?

• venus pudica figure with blonde hair like the poet petrach’s famous muse, laura

• golden blonde hair was tuscan inspired

• not going for naturalistic, there is an empsasis on makign them look graceful not natural

• emphasiszed femininity

andrea del verrocchio and leonardo da vinci

the baptism of christ

tempera and oil on panel

• leonardo trained as an apprentice in verrocchios studio

• difference in style with leonardos angel (more realistic 3D, almost perfect) vs verrocchios (flat and not “perfect”)

• theme of the student outdoing the teacher

leonardo de vinci

the last supper

santa maria delle grazie

milan, fresco

• expirementation with fresco secco and compositions

• vanishing point between jesus head

• representation of judas is problematic

leonardo da vinci

study for the virgin and child with saint annex

charcoal, pen and watercolor on paper

• drawing as leonardos early research and development stage of painting

• drawings should be messy like a poets rough draft

• leonardo is showing tecniques just like alberti

Leonardo da vinci

mona lisa

oil on panel

• sfumato does away with hard lines

• changing format, appearance, function of the point

• image not made with human hands

• warm personality she is radiating to the viewer because of her soft eye contact

• she kind of feels like a subject the way she is sitting

• hands are so essentially leonardo

luca signorelli

the damned cast into hell

san brizino chapel

fresco

• emphasis on the demonic body’s that are different color to what we have seen before like in giottos

• increasing emphasis on the muscular, heroic male body without clothes

• disengo from the bones on up, signorelli draws his atatomical figures from life

Michelangelo

pieta

marble

• both the virgins and jesus body are ideal and almost “perfect”

• competition with antiquity, contract stipulated that this needed to be the most beautiful marble

• is Jesus only sort of dead-ish? veins in hands seem full of blood

Michelangelo, david

marble

• meant for the cathedral but repurposed as anti-medici political statement

• possibly the moment in narrative before goliath dies

• increasing emphasis on the heroic male nude as a defining element of florentine art

leonardo da vinci

virtuvan man

pen and ink on paper

• leonardo seeks anatonical knowledge for its own sake

• anatomical ratio

• body as something glorified, dignified, elevated and beautiful