Art History II - Exam 1

Bonaventura Berlinghieri, Saint Francis Altlarpiece, 1235, tempera and gold on panel

Made in partnership w/ St. Francis’ canonization process (political propaganda), depicting his miracles

Pulls from tradition of life icons from the Byzantine era

Cimabue, Madonna Enthroned with Angels and Prophets, 1280-90, tempera and gold on panel

Italo-Byzantine style that begins to depict religious figures in a more humanistic way marks a shift towards naturalism in Italian art

Cult of The Virgin Mary

chrysography - writing in gold

Giotta, Madonna Enthroned, 1305-10, tempera and gold on panel (altarpiece)

rounded figures, creating depth through empty space—serving a function during mass as the Eucharists was lifted towards this space and figuratively blessed by baby Jesus = artistic activation of mass

Duccio di Buoninsegna, Maestà Altarpiece, 1308-11, tempera and gold on panel

giant narrative of Christ’s life, a part of the Big 3 of the Italo-Byzantine style

front was for the congregation—accessible, easy to understand, emotionally evocative

back was for the clergyman—quite meditation and more detailed theology

Duccio, Raising of Lazarus from the Maestà Altarpiece, 1308-11, tempera and gold on panel

Giotto, Scrovegni Chapel, 1305, fresco

Scrovegni commissioned this piece as a devotion to rid himself of the sin of usury

In comparison to his Madonna Enthroned, Giotto uses much more naturalism, reflecting the public vs. private patronage, as private patronage became increasingly secular

Giotto, north wall of Scrovegni Chapel, 1305, fresco

includes: Marriage at Cana, Raising of Lazarus, Resurrection, and Lamentation—contrasts from the 3 other reading lines (left to right), instead goes right to left, causing viewers to pause and reevaluate

Jean Pucelle, “The Kiss of Judas” and “Annunciation” from The Book of Hours of Jeanne d’Eureux, 1324-28, ink on parchment

parchment process was incredibly time and skill-intensive, therefore, signified wealth

the S-curves of the figures (International Gothic Style) were meant to portray a certain gracefulness (sprezzatura) that equated to courtly manner

Anonymous, Virgin and Child, 1324-39, silver gilt and enamel

reliquary box—served as a spiritual enhancement, the power of art to transform an experience (transcendence)

Anonymous, Vesperbild (Aità), 1330, wood and polychromy

used in the prayers of the vesper

the alternative argument for religious enhancement, what is awe-inspiring? Beauty and Ugliness have similar abilities to elicit emotion

Paul, Herman, and Jean Limbourg, Tres Richés Heures, 1413-16 (January)

Paul, Herman, and Jean Limbourg, Tres Richés Heures, 1413-16 (February)

reinscribes social order and roles by including a demeaning portrayal of the lower class

Claus Sluter, Well of Moses, 1395-1406, gilding and polychromy

revival of ancient classical style—Sluter is one of the first Northern sculptors to use this style during this period

Robert Campin, Mèrode Altarpiece, 1425-28, oil on panel

depicts the Annunciation with lots of symbolic meaning, a defining characteristic of Northern Renaissance art

placing traditional religious scenes in a 14th-15th century context reflected the influence of humanism on art—understanding religious subjects in a more personal and relatable way, religious figures were not supernatural-esque beings, but rather similar to the viewer

Netherlandish art was mainly of private patronage (merchant class), which was visible in the presence of crests and patrons in the paintings

Jan van Eyck, Ghent Altarpiece, 1432, oil on panel

movement’s emphasis on naturalism and extreme detail through the mastery of oil painting—the thinness of oil paint is how artists, especially van Eyck, were able to accomplish an unmatched illuminosity

a device to emphasize the presence of the divine in Church—full of symbolic meaning

Jan van Eyck, Portrait of Giovanni Arnolfini and His Wife, 1434, oil on panel

a highlight of the merchant class patronage of the Northern Renaissance

interpreted as a memoriam portrait for Arnolfini’s wife, who may have died during childbirth (the representational pregnant stomach, the burnt-out candle above his wife)

incredible detail to showcase wealth and status, including the small oranges in the background, which were luxury items as they were not readily available in Europe during the 15th century

Jan van Eyck, Man in Red Turban, 1433, oil on panel

was known as his reference work that he would keep on his person or in his studio to showcase his skill for potential patrons

exemplified van Eyck’s skill with oil paint, incredible illuminosity in the red of the turban

Rogier van der Weyden, Deposition, 1442, oil on panel

structural detail (box like) of the painting is reminiscent of a diaroma, the work of art has come to life (theatrical set effect)

a shift towards optical accuracy in Renaissance art

the intense emotionality rivals that of the Baroque period

this piece was commissioned for a crossbrow fraternity—symbolically represented in the corner details and the figurations of Mary & Jesus

Hugo van der Goes, Portinari Altarpiece, 1474-76, oil on panel

uses visual effects of color to elicit technicolor experience as altarpiece is opened up

this form of patronage came from wealthy citizens commissioning works for the public (orphanages, hospitals, public charities), often as a way of personal sanctification

just like Giotto’s Madonna Enthroned, this piece was used as a device for religious enhancement during mass (Eucharist would be raised to the Eucharistic symbols in the foreground)

the 3 shepherds (Adoration of the Shepherds) depicted as common folk, copied by Italian artist

Unknown, Unicorn is Found at the Fountain, Unicorn Tapestry, 1495-1505

the most expensive form of commissioned art during the Renaissance, did not last long because of the temporality of textiles

patron signets/initials can be found embedded within the intricate detail (symbol of wealth and status)

each detail is gracefully oriented to the very symbolism of each individual flower, originally it would have been vibrant with color

Lorenzo Ghilberti, Sacrifice of Isaac, 1401, bronze with gilding

winning against his contemporary, Brunelleschi, this is one of the earliest examples of Renaissance competition, typical of patrons to have open applications for commissions

Fillippo Brunelleschi, Sacrifice of Isaac, 1401, bronze with gilding

this is one of the earliest examples of Renaissance competition, typical of patrons to have open applications for commissions

compared to his contemporary, Ghilberti, this narrative breaks out of its confines literally and depicts a more climactic interpretation of events.

Fillippo Brunelleschi, Dome of Florence Cathedral, 1420-36, brick

architectural feat, using egg-shape to shift center of gravity, therefore relieving the stress—comprised of series of masonry ribs and iron chains around circumferance

alongside inventing new ways to build up without scaffolding, Brunelleschi also engineered groundbreaking machinery for heavy lifting

largest masonry dome to exist to this day, a statement of power, reflecting the idea that architecture tells us about power structures

Fillippo Brunelleschi & Michelozzo di Bartolomeo, Interior of Church of San Lorenzo, 1421-28, marble?

in conversation with humanism’s intersection of religion, heavily designed on geometric and mathematical processes — considered to be the universal language of the divine because God gave number, measure, and weight to the universe

compared to Gothic style which brought your eyes up, minimizing you, sense of incomprehension of the divine, this interior reflects humanistic ideals that man is measure of all things, driving your eyes toward the center (architecture is centered around us)

Michelozzo di Bartolomeo, Façade of Palazzo Medici-Riccardi, 1446, stone?

another example of architecture’s narrative ability, as the three layers ascend in order, the surfaces of the stones become more refined, reflecting a sense of hierarchy and wealth as one climbs a level

speaks to the immense power of the Medici family during the Renaissance as one of the most formidable and influential houses of patronage

Donatello, David, 1446-60, bronze

first nude sculpture to be made since classical antiquity

exploring sexuality as this depiction is effeminate and has symbolic references such as the feather extending up the inside of his leg

shows a social revival of classical antiquity by broaching the subject of homosocial relationships, an accepted displays of admiration and adoration for the same sex, (typically men) platonically or romantically—as well as ancient Greek’s fluid perception of sexual orientation/identity

Masaccio, Trinity with the Virgin, St. John the Evangelist, and Donors, 1425, fresco

a parallel can be drawn to Giotto’s early example of depth/space illusion, as if a chapel space is entombed

can see the individual giornata in the way the plaster patches dried

Brunelleschi’s rediscovery/popularization of linear perspective can be seen in Masaccio’s ability to create an illusionary 3D space

inclusion of donors in the bottom, patronage homage

Masaccio, Tribute Money, 1427, fresco

continuous narrative—same character appears multiple times in the same frame, Massaccio cuts up the different scenes by framing St. Peter between trees and edifice

uses linear perspective, placing the vanishing point at Christ’s face—a symbolic reference to his centrality and importance

atmospheric perspective is achieved by definition loss as details move into background (e.g. mountains)

Donatello, St. Mark, 1411-13, marble
included proportion distortions to account for it being viewed above, a technique Michelangelo mirrored in his David

contrapposto, intricate folds in the fabric, very human depiction of religious figure—all reflect early Renaissance devotions to the classical example

Sandro Botticelli, Birth of Venus, 1485, tempera on panel

placed in Medici’s bedroom (nuptial room)—Renaissance Italians typically entertained guests in bedroom, where paintings served as intellectual conversation starters

a pure revival of antiquity—depicts pagan subjects (Greek/Roman mythology) instead of Christian subjects

in conversation with paragone, debating whether art or sculpture was superior

Leonardo da Vinci, Mona Lisa, 1503-05, oil on panel

exceptional example of the sfumato technique, specifically in the subtle transition from the jaw to the neck as the contour line effectively dissolves

da Vinci uses his study of optics to create an augmented reality effect in the smile, playing on the human eye’s distinguishing abilities between dark and light, creating a more apparent smile when viewers are not focused on the mouth as the shadows at the corner of the mouth augment our vision

Leonardo da Vinci, The Last Supper, 1495, oil and tempera on plaster

da Vinci’s intense observations of the human body, internally and externally, contribute to his ability to convey in-depth human emotion physiologically

this piece reflects his experimental and scientific nature, not only with studies but also materials (combining mediums) to form the idea of an artistic license that is grounded in the liberal arts

Michelangelo, Pieta, 1498-1500, marble

this subject was strange to Italian eyes, a fictionalized Bible narrative that was originally a Northern European subject (Vesperbild)

comparing the two, there is an obvious difference in aesthetic styles, Michelangelo idealizing the human form within this religious context, placing beauty before all else, while the Vesperbild is conventionally ugly, focusing more on the brute tragedy and less meditative emotion of the moment

Mary’s drapery make her colossal figure able to support her fully grown son, the uncollapsed veins in Jesus’ arms as a foreshadowing of his Resurrection

Michelangelo, David, 1500-04, marble

first colossal nude sculpture since antiquity

served as a political symbol for Florentines, as they often saw themselves as the underdog geographically, reflected in the story of David vs. Goliath

emphasizes the contextual power of art—changing its meaning from religious, to aesthetics, to political based on spatial occupation, this relates to our readings on museum exhibition and the power of how we frame and place art

Bramante, Tempietto, 1502, travertine

commissioned by King Ferdinand II & Queen Isabelle to beautify the city, stamp Spanish presence in Rome, and align with their extreme devotion to Christianity

inspired by classical architecture—buildings set to the scale of human body (human body)

appropriates the architectural vocabulary of ancient Greece & Rome to make a statement about the Christian triumph over paganism (architecture speaks to power structures)

Raphael, School of Athens, 1506, fresco

in the private library and office of Pope Julius II—a major Renaissance patron who pitted Raphael and Michelangelo against each other (also a nepo baby)

many influential figures of antiquity, Plato (pointing up, spiritualism, soul philosophy) & Aristotle (pointing out towards viewer, more humanistic philosophy grounded in logical reasoning) in the center

hypothesized that Raphael made many of the Greek greats in the likeness of the Renaissance greats (e.g. da Vinci as Plato)—maybe to communicate the idea that they are the equivalent or maybe better

Titian (Venice), Venus of Urbino, 1538, oil on canvas

patron was most likely a highly paid courtesan of Venice—highlighting rare female patronage

depicts female sexuality and agency as no man is present in the act

many female nudes are criticized for their elicitation of the peeping-tom response, mainly because the subject is not actively engaging with the viewer, however, this woman is staring straight at the viewer as if she knows she is being watched, and that is her choice

Michelangelo, Sistine Chapel, 1508-12, fresco

as you walk in the paintings go back in time to the purest state of God’s creation

a technical progression can be viewed in the different scaled figures as time went on and Michelangelo accounted for ground level visibility

a masterclass of sprezzatura as Michelangelo makes the unnatural poses of his subjects, specifically the framing figures, look graceful

the masculine depictions of the female bodies reflect the illegality of observed nude female models and Michelangelo’s preference for the ideal male body

Parmigianino, Madonna of the Long Neck, 1534-1540, oil on canvas

Sofonisba Anguissola, Self-Portrait at the Easel, 1556, oil on canvas