Art Appreciation Quiz 2

Arena Chapel

Giotto, Padua, Italy, Early Renaissance,1305

Lamentation

ARENA CHAPEL, Giotto, Padua, Italy, EARLY RENAISSANCE - depth, turned figures, departure of byzantine frontality, use of light to model (+ create volume) with the figures, NATURALISTIC representation and emotional resonance

Ghiberti. Sacrifice of Isaac for the Baptistery doors, Florence, Italy, Bronze. Early Renaissance. 1401.

Florence cathedral + baptistery doors

St. Mark, DONATELLO, Or San Michele,Florence, Italy, marble. C. 1411

Commissioned by the LINEN-MAKERS guild, Emphasis on drapery, NATURALISTIC, CONTRAPPOSTO stance

St. George, DONATELLO, Or San Michele,Florence, Italy, marble. C. 1415

Commissioned by the ARMOR-MAKERS guild, St. George was a soldier who fought in the crusades, Confident posture, conveying personality

Birth of Venus, Sandro Botticelli, Tempera on canvas, 1485

Interest not just in Classical style, but classical subjects as well, earthly goddess /aroused humans to physical love or heavenly goddess /inspired intellectual love, allowed the mind to better understand spiritual beauty, like the search for the ideal human, body is a manifestation of the soul

Marriage Portrait, Piero della Francesca, Oil and tempera on wood. C. 1474.

(The Duke and Duchess of Urbino), ornate jewelry, side profile because duke lost his eye, decorative frame, husband was a minister, not a large painting.

The Tribute Money, Masaccio, Brancacci Chapel, Florence, Italy, FRESCO. c. 1425

Same monumentality as Giotto, but greater success in modeling (creating shape through light), Interest in anatomy, Linear and atmospheric perspective, suggestion of depth, Cast shadows, Complex, "continuous" narrative, HUMAN PSYCOLOGY/HUMANIST HUMAN EMOTION

Madonna of the Rocks, Leonardo da Vinci,Oil on Wood. 1483

Pyramid grouping of figures shows an interest in geometry- Use of both linear perspective and atmospheric perspective, visual linking through gestures, frescos didnt hold up well because of the weather

Sfumato

Italian for "smoky", technique used to blend details to look more realistic

Chiaroscuro

the treatment of light and shade in drawing and painting

Last Supper, Leonardo da Vinci, Refectory, Sta. Maria de Grazie, Milan, Fresco. c.1495

everything had a point! interest in geometry and groupings (disciples in pairs of 3), all hands move your eyes to jesus, no halo, but jesus is in front of a window to still have light around his head, anatomy for muscles

David. Michelangelo, Marble. 1501-04 17 ft.

David stands as a symbol of Florence'sliberty- Celebration of the heroic Classical nude- Depicted the moment before battle- Captures a psychological state, thought,and tension

Creation of Adam. Sistine Chapel Ceiling. Michelangelo. Fresco. Rome 1512.

Last Judgement. Sistine Chapel.Michelangelo. Fresco. Rome. 1540.

Madonna of the Meadow, Raphael, Oil on panel. 1505.

triangular

School of Athens, Raphael, Fresco. The Vatican. 1511.

Celebrated ancient philosophers, scholars, scientists- setting recalls ancient roman triumphal arches- statuary - Apollo and Athena - art and wisdom

The Rape of Europe, Titian. 1560. Oil on Canvas.

Titian - painterly style

The Merode Altarpiece, Robert Campin, c. 1375-1400. Oil on panel

Private devotional Altarpieces popular in 15th century Flanders-Often reflected an integration of the secular and religious worlds-Frequently set in a typical Flemish house-Most often done in oil on wood panel - geographic influence

Ghent Altarpiece, (closed) Jan VanEyck, St. Bavo Cathedral, Ghent,Belgium,. 1432. Oil on wood.

Mastery of illusionism- Typical Northern Altarpiece withmovable wings and multiple panels- Scene typical of NetherlandishAltarpieces- typical domestic setting- Familiar city outside- Donor portraits- Continuity between thereal and pictorial world- Trompe l'oeil

Giovanni Arnolfini and His Bride,Jan Van Eyck. 1434. Oil on wood.

- As in Italy, we see the rise ofportraits as the merchant andbanking class grows- Depicts the exchange of marriagevows- Placement and symbolism reinforcegender roles of the time- Fidelity- Fertility- Presence of God

Isenheim Altarpiece(closed), MatthiasGrunewald , c. 1515.Oil on Wood.

-Made for a church adjoining the hospital order of St. Anthony- Imagery of pain helps patients realize that Jesus understands their pain, illustrates the human aspect of Christ- Hospital was known for treating plague, skin diseases, and St. Anthony's Fire - also known as Ergot

Adam and Eve, Albrecht Durer, 1504. Engraving.

Illustrates his skill as a print-maker- synthesis of a Northern attention todetail and an Italian interest in theclassically styled body- Animals are symbolic of the types ofhuman nature-Cat and mouse are symbolic of thetension between good and evil

Garden of Earthly Delights, Hieronymus Bosch, 1505-10. Oil on Wood.

Uses fantastic imagery to illustrate moral and religious content- Pessimistic about man's sinful nature- Little known about his personal life, only made 30 paintings- Not concerned with realism- likely painted for private consumption, too extreme for churches

NetherlandishProverbs,Pieter Bruegelthe Elder, Oilon panel, 1559

Pieter Bruegel the Elder (Peter Bruegel)- Interest in the relationship between humans and the surrounding landscape- Known for "genre" scenes- scenes from everyday life featuring peasants - hunts, festivals, dances -very rare for his timeNetherlandishProverbs,Pieter Bruegelthe Elder, Oilon panel, 1559

Hunters in the Snow, Pieter Bruegel the Elder, Oil on panel, 1565

Originally from a series of paintings illustrating the seasons and their impacton the landscape and human life- Barren - but shows how communal life perseveres

northern renaissance

An extension of the Italian Renaissance to the nations Germany, Flanders(Nederland), France, and England; it took on a more religious nature than the Italian Renaissance

protestant reformation

A religious movement of the 16th century that began as an attempt to reform the Roman Catholic Church and resulted in the creation of Protestant churches.

DAVID v DAVID v DAVID

david (donatello) - 5 feet, completely victorious + sassy pose

david (michelangelo) - 17 feet, moment before battle, careful psycological study of david (in the face)

david (verocchino) - 4 feet (smallest), same time as donatello, leonardo apprenticed under him, cocky attitude, shifted shoulders, wtf you got on boy

contrapposto stance

standing with most of the weight on one foot.

early -> high renaissance

before renaissance artists were seen as craftsmen (blacksmiths) and now they are perceived on the same level as philosophers and intellectuals

MichelAngelo

began his career in florence (birthplace of renaissance) majo commissions in rome, considered sculpture the closest way to make man, idea locked in stone, not strict on scientific measurements, he had art style