Ap Art history Unit 3 (ID quiz)

Saint Mark, Donatelllo

Donatello, Saint Mark  (ITALY) (1411-1413)Materials:

• Marble, demonstrates mastery

• Weight shift of body garment, recognized contraposto

• First appears under commission of linen drapers, stands on pillow made out of linen, heavy veins 

• Gothic aspects

Background/ purpose:

• To glorify and guild st. mark, with rich fabric folds advertising guilds products

• Commissioned by Arte dei Linaioli

• Part of larger project in florentine guilds decorate their niches guilds to show wealth and penalty

Other info:

• Intended for exterior niche high above street so viewed from below

• St mark is a historical figure in gospel

 Portrait of Sin Sukju

 Portrait of Sin Sukju (KOREA) (15th CE)

Materials:

• Medium ink, colored on Silk, large hanging scroll

• Physical features of eminent scholar official but also personal character: Face wrinkles around eyes, deep groves, mustache meets chin

• Artistic style: Achieved realism while adhering court painting conventions 

Background/ purpose:

• Honoring merit: (Portrait of Sin sukju) Key political figure in his time, rose to position of prime minister, served 6 kings 

• Spiritual/Ritual: Served sacred object for his family, used in ancestral worship to guide family generations 

• Status symbol: Symbolized rank, projecting power and authority

• Propaganda: displayed an ideal of government dominance and exceptional service

• Joseon Dynasty (neo-confusianistic) 

• Unknown painter 

Other info:

• Rank badge used from peers to local officials.

• Gold embroidered  insignia crafted in sets worn on front and back of over court 

• Designed clouds wild good and peacocks

Dome of florence cathedral

Dome of florence cathedral, Filippo Brunelleschi (ITALY) (1420-1436)

Materials:

• Double shell: inner thicker dome, thinner shell connected by 24 vertical ribs, 8 important most visible on exterior 

• Bricks: Laid in fishbone

• Iron wood chian: embedded in shells contracted outwards

• Lifting machines (machenery): to be able to paint and build he design special hoist to lift structure

• Interior of unmatched spaciousness, soaring arches, stained glass windows, beautiful frescoes makes it gothic 

Background/ purpose:

• Challenger: designed by Alforno di Cambio, nobody knew how to build it, especially without gothic buttress 

• Renaissance symbol: Makers break form gothic style, embraced roman forms, florentine power and humanism

• Competition: Won the comp with design, presented model and demonstrated skills

• Created by Filippo Brunellechi 

Other info:

• Begun 1417, 82 years to complete, planned to fit entire population (huge investment from people) 

• Linear perspective attributed to brunelleschi. After loosing door competition, he spent his tome studying roman ruins and buildings, then drawing them.

Holy trinity

Holy trinity, Masaccio (ITALY) (1428)

Materials:

• Fresco painting (painted directly on wet plaster)

• first surviving painting using Brunnochelli's Linear Perspective, creating illusions of depth (barrel vaulted space)

• Many roman depictions: triumph arch, historical weight, barrel vault

• Life size figures

Background/ purpose:

• Patronage: Commissioned by Lenzi family (donor portrait included), served as personal devotion and commemorated death 

• Focuses on the Holy Trinity: emphasizing christs sacrifice towards eternal life, presented by human realism

• Renaissance Era

• Create by Massaiccio 

Other info:

• Below tomb contain skeleton, representing adam, make a virtual church 

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Rulers feather headdress

Rulers feather headdress (MEXICO) (1428-1520 CE)

Materials:

• Feathers: vivant green Quetzal feathers, prize w beauty and rareness, colorful

• More than 3 feet tall, wearing would have made any ruler 9 ft tall 

• Metals: gold elements signify wealth/diviny 

• Base: wood and vegetable fibers

Background/ purpose:

• May have been worn by Aztec Emperor Moctezuma II

• Symbolism: feather represented fertility, power, connections between ruler and the divine

• Ritual Use: Common use in priest/gov for rituals and religious ceremonies (impersonated gods)

• Showed conquistadors power and projected authority 

• Created by aztecs, peak of mexica

Other info:

• Highly fragile, damaged by age, requiring care

Pazzi chapel

Pazzi chapel (ITALY)(1429-1461CE)

Materials:

• Stone: extensive use of grey pilasters, arches, walls

• Some: Central of the oculus, windows, ribbed structure

• 12 windows for the 12 apostles 

• Decorations: Blue glazed terracotta roundels depicting apostles

• Pietra serena (a blue /grey sandstone form tuscan) typical renaissance colors, simplicity, mathematical harmony 

•  Arches, pillasters, barrel vaults

Background/ purpose:

• Commission: Commissioned by wealthy Pazzi Family

• Function: served as a chapter house (meeting room) and classroom for monks, plus funeral services

• Renaissance ideals: shows ideals of renaissance architecture, mathematical harmony, gothic structure

• Designed by Filippo Brunellechi  

Other info:

• Dome = top

• Tonfo circle windows

• Chapel bottom rows

• logia= entrance 

• Altar

Annunciation Triptych

Annunciation Triptych (NETHERLANDS)(1427-1432 CE)

Materials:

• Oil pastels and tempura oak panels

• Early Netherlandish, northern renaissance, known for realism and detailism

• Humanizing religious themes: character without halos

• Triptych: three panels

Background/ purpose:

• Artist: attributed to Robert camping

• Purpose: created for private devotions, allowing viewers to contemplate the mystery of the incarnation

• Setting: biblical scene in contemporary, Flemish middle class domestic interior making it look relatable

Other info:

• Lilies (purity), extinguished candle (Holy spirits presence), mousetrap (Christ trapping sin), Tiny christ figure (foreshadowing crucifixion) 

• left panel: Donors, Man peers form courtyards with woman trying to overhear

• Center panel: Gabriel the angel announces to army; she sits on the floor

• Right panel: Saint joseph the carpenter, working with tools (mousetrap)

The Amolfini Portrait

The Amolfini Portrait (BELGIUM) (1434)

Materials:

• Oil paint, Oak panel (made out of three boards)

• Oils capture light, texture, perspective, realism

• Western art

Background/ purpose:

• Subjects: Giovanni Di Nicolao Arnolfini, wealthy italian merchant i the flanders, and his wife (giovanna Cenami) 

• Setting: Wealthy flemish domestic interior in bruges

• Purpose: Traditionally seen as a wedding portrait or engagement, btu could be legal agreement, memorial (deceased wife after childbirth) or affirmation of their status. (Van Eyck Witness)

• On back wall elaborate signature of work “Jan Van Eyk was here”

Other info:

• Mirror: reflects couple and Van Eyk in mirror, linking to the divine from the scenes from christ passion

• Dog: loyalty, or companionship in afterlife

• Single candle: daytime, gods presence or sanctity of event

• Bedroom & Oranges: expensive imports, showcase wealthy family (red, green, fur)

• Womans pose: Holding fabric to her stomach, pose pregnancy wise

City of cusco

City of cusco (PERU) (1440 CE)

Materials:

• Stonework, gold and silver, textiles and pottery

Background/ purpose:

• Inca capital: Cusco (center) of the inca empire

• All cities radiating out from hub of cusco

• Religious Hub: Home to the temple of the sun, Sun ceremonies dedicated to the sun god Inti

• Imperial control: Served as a political hear, conquered rulers held there

Other info:

• No written language but system record kept using khipu (colored ribbon knots)

• Silver and gold very abundant in trading 

• Plan of cusco based on laying puma, main plaza belly, river forming spine, sundial as eye

•  A garden made from gold, silver, jewels. Items represented life-size people, food, animal from 4 quarters of empire

• Walls covered in sheers of gold to signify dedication to Inti

Maize cob, inca

Maize cob, inca (PERU) (1440-1533 CE)

Materials:

• Metals, copper, silver, 3D sculptures, Naturalism

• Made from pound metal sheets (abstract inca art)

Background/ purpose:

• Sacred/political: MAize was the food of the gods, Linking inca state to power/fertility

• Ritual use: Displayed during festivals and harvests

• Symbolized the maize to brew chicha, for important feasts and offerings

• Asserted dominion over resources and agricultural systems

Other info:

• Most were melted down from conquistadors and some sent to spain

David, Dontellos 

David, Dontellos  (ITALY) (1440-1460 CE)

Materials:

• Bronze (primary material), realism sculpture, 3D, stance contrapposto, rich surface textures, gilded elements like hair, naked

Background/ purpose:

• Commissioned by Medici: placed in garden to be visible for people passing

• Symbol of florence: Represented florences defiance against powerful enemies, embodying biblical story of david defeating goliath.

• Humanism: Depicts many human ideals like youth, naturalistic figure, divine victory not just physical might.

• Made by Dontello

• Early Italian renaissance  

Other info:

• Nudity: Sows nude male of antiquity, vulnerability and naturalism (Greek method)

• Post victory scene: David seem to be relaxed after battle, food on goliaths head and holding his sword, he also has that greek archaic smile but more relaxed

• Stance contrapposto

Palazzo Rucellai

Palazzo Rucellai, Leon Bassita Alberti, (ITALY) (1450 CE)

Materials:

• Large stones, columns not outwards but rathe flat like colosseum, Multiple Arches

• Each story with flat Pilasters, distinct capitals (different order on each story → like colosseum)

Background/ purpose:

• Commissioned bu: Giovvani di Paolo Rucellai, Wealthy wool merchant 

• Symbolism: Declaration to the family's status, wealth, and education, humanist taste

• Function: Private residence with distinct levels for public business formal reception, private family quarters, public statement of wealth

• Italian renaissance

• Created by Leon Bassita Alberti

Other info:

• Full entablatures filled with decorative patterns: lowest diamond ring with three feathers (on Medici symbol), second floor sail billowing in wings (rucellai)

Interior square courtyard brings inlight and air, renaissance mathematical harmony of height of columns/ distance between columns/depth form interior walls all equal dimension. Typical renaissance colors and materials

Machu Picchu

Machu Picchu (PERU) (1405-1540 CE)

Materials:

• Stones (primary material), dense of volcanic rock, cut into mortar, wood beams 

• Buildings of Machu Picchu show social divisions of the site

• Increased usable surface by creating steps, could then be farmed for food

• Temple of the sun “observatory”

• 2 windows: sun shines through left at sunrise on winter solstice and right on summer solstice

Background/ purpose:

• Constructed by Incas, Abandoned after inca fell to the spanish

• Function: Royal retreat, religious sanctuary, astronomical observatory, agricultural center

Other info:

• Water management crucial

• Integuatana stone: “tie up the sun” → priest tie the sun with a special cord to track the passage of the sun throughout the year, reckoning of time when religious events should take place

• Carved boulder: located at the highest point of sacred precinct

All- T’oqapu Tunic

All- T’oqapu Tunic (PERU) (1450-1540)

Materials:

• Fibers: Alpaca/llama wool, vibrant color, cotton, many dyes, dense durable cloth

• Technique: Warp faced tapestry weaving on looms, geometric patterns 

Background/ purpose:

• Symbol of power: Reserved for elite, controlled social aspects of the empire, has many cosmological ideas

• Form of visual communication like the knotted Kippu (strands) 

• Creator: usually Incan women

Other info:

• One long rectangle of cloth, neck slit in middle, folded in half and sides sewn up to arm holes

• Covering a single tunic with large variety of t'oqapu likely make sit a royal tunic

• Worn by inca army

Madonna and child with two angels, Fra Filippo Lippi

Madonna and child with two angels,Fra Filippo Lippi, (ITALY) (1465 CE)

Materials:

• Tempera wood panel rather than 2D, gold leafs for halos, fabrics, linear perspective 

Background/ purpose:

• Humanism: Moved away form the byzantine depictions, presented mary as realistic young woman

• Devotional: Private devotion, offering intimate human motherhood and faith contemplation

• Symbolism: Christ child reaches for carnation (purity) while a rock falls on christ tomb (forshadowing)

• Made by Fra Fillipo Lippi, wife lucia could have been model 

Other info:

• Atmospheric perspective - forms in distance are less clear and appear paler and bluer

• Shows shadows on frame of window

• Inspired many artist like Sandro Bocelli

Ryoan-Ji

Ryoan-Ji (JAPAN) (1480 CE)

Materials:

• Rocks: 15 stones in varying sizes, some resting on moss islands

• Layout designed so one rock is hidden from view (makes viewer stay longer) 

• Gravel, walls, wood

Background/ purpose:

• Goal: To facilitate depp meditation, introspection and contemplation, encouraging views to find personal meaning 

• Symbolism: Islands in the sea, mountains above clouds, tigres cubs crossing the river

• Ryoan ji (temple of the peaceful dragon) estate of member of powerful family, Eventually passed into the family of famous general, later converted in a Zen Buddhist temple

Other info:

• Climb up stairs and arrive at Hoko: abbots study, residence/monks quarters and tearoom in the main building of monastery

• Rock garden to the south side/in the front of the hojo viewed from either wooden veranda embracing the building or from inside fo the room

Birth of venus, Sandro Bottichelli

Birth of venus, Sandro Bottichelli, (ITALY) (1484-1486 CE)

Materials:

• Tempera on canvas, Egg tempera, mixed pigments, realism, gold leafs, wings, bright colors, great linearity

Background/ purpose:

• Commissioned: Medici family, for their country villa

• Theme: Represent the birth of spiritually beauty and love where Venus embodies divine love, leafing soul towards god

• Inspiration from ancient sculpture like venus de medici

• Made by Sandro Bocelli

• Italian Renaissance 

Other info:

• Venus: famous pose, stands on scallop shell ( symbolizing female genitals and birth)

• Zephyr & Chloris (Aura): wind gods blowing venus ashore

• Hora of spring: A Nymph awaiting to cloak venus, symbolizing spring and rebirth 

The last supper, Leonardo Davianchi

The last supper, Leonardo Davianchi, (ITALY) (1494-1498)

Materials:

• Experimental mix: Used tempera and oil instead of fresco to the wall (prevented paint form adhering well and flaked off through years), realism

• Composition: Jesus is central, linear perspective spotlight on him and the apostles create dramatic facials features form the message

Background/ purpose:

• Commissions: Ludovico sforza, duke of milan

• Subject: Depicts biblical scene where jesus reveals that one of his apostles will betray him

• Goal: Show human expression, through realistic gestures from calm to static, figures hands reveal personalities (thomases fingers, peter knife) 

• Made by Leonardo Davianchi

Other info:

• Judas: in the shadow with salt nearby (bad omen)

• One f the most famous paintings due to psychological depth and renaissance humanism 

Adam and Eve, Albrecht Durer

Adam and Eve, Albrecht Durer, (GERMANY) (1504 CE)

Materials:

• Engravings: lines carved into copper plate and then inked, black and white print

• Realistic skin, texture, and fine line of burin work

Background/purpose:

• Created after Durer's trip to italy, synthesizing northern detail with italian renaissance humanism 

• Shows adam and eve lushed, foreshadowing before eating the forbidden fruit 

• Hellenistic Poses, Based on Vitruvian proportions, Adams pose echoes apollos Belvedere and Eve Venus.

• First documented use of ideal canon of proportion greek sculptures

• Nearly symmetrical, fit, stance Contrapostto (greek/roman ideal)

• Northern renaissance 

• Albrecht Durer

Other info:

• Animals: 4 animals represent 4 humors (Cat/mouse tension, rabbit, ox , moose (satan)