Renaissance and Baroque - 1/4 MODERN ART QUIZ

Vocabulary flashcards covering key artworks, artists, dates, and stylistic categorizations from Heinrich Wölfflin based on the ARTH-UA 6-001 lecture notes.

Domenico Ghirlandaio (Italy). Last Supper. C. 1480

• Doesn’t feel alive = primitive

• You could pluck out one of the subjects and they could be on their own, existing outside of the painting

The Last Supper (Leonardo da Vinci), 1495-98

• A ca. 1495–98 Italian painting categorized by Heinrich Wölfflin as 'Classic'.

• Overlapping figures who are hard to pluck out

• The sum is greater than the parts

• Idealization of the painting- taking your subjects into movement

• All of the figures are interacting with one another

Madonna of the Goldfinch, Raphael, 1505

• Categorized by Wölfflin as 'Classic'.

• Subjects are interacting

• One mass

• Alive

• Idealized- taking your subjects into movement

Filippino Lippi (Italy). Virgin and Child with Angels. 1490s

• Compare to Madonna of the Goldfinch

• Primitive

• Can pluck out the subjects, not interacting, looks like a painted and staged background.

Pietro Perugino (Italy), Francesco delle Opere, 1494.

• Heinrich Wölfflin as 'Primitive'.

• Painted backdrop

• Not super alive

Domenico Ghirlandaio, Portrait of a Lady (Ghirlandaio), 1483-85.

• Primitive

• Not lifelike

Leonardo da Vinci (Italy). Mona Lisa. c. 1503-05

• Classic

• Smoky, hazy, blended, alive

Piero di Cosimo (Italy), Venus and Mars with Cupid, 1505

• Primitive

• Figures seem very separate

• Background looks like a painted backdrop

• Separate characters

Titian (Italy). Venus of Urbino. 1538

• Classic

• Subjects are doing an action in the background- looking through a trunk together

• Alive

Principles of Art History (1915)

A work by Heinrich Wölfflin presenting formal dualities such as 'Linear vs. Painterly', 'Multiplicity vs. Unity', and 'Clarity vs. Confusion, Closed vs. Open, Plane vs. Recession'.

Lorenzo di Credi, Venus, 1490

• Italian painting categorized under Wölfflin's 'Linear' style category.

• Crisp edges

• Background is lacking, plain, subject is the main focus

Rembrandt van Rijn (Holland). Bathsheba. 1654

• Painterly - BAROQUE

• Baroque, hazy; lines are not crisp; lifelike; background is deep and complex

El Greco (Spain), Brother Hortensio Felix, 1609

• Categorized by Heinrich Wölfflin under the 'Painterly' style.

• Hazy lines

• Background deep and complex

• More realistic-looking

Pope Julius II, Raphael, 1511

• Linear

• Hyper realistic

• crisp edges

Frans Hals (Holland). The Jolly Toper. 1628-30

• Painterly

• Baroque, hazy, lines are not crisp

• Background is deep and complex

Daniele da Volterra (Italy). Descent from the Cross. c. 1545

• Multiplicity vs. Unity

• This is Multiplicity

• Upper group vs lower group

  • Lots of figures, crisp, separate characters doing their own thing

Peter Paul Rubens (Flanders). Descent from the Cross. 1610-11

• Unity (baroque)

• 'High drama, dramatic lighting, figures morphing together and interacting

The Birth of Venus, 1484-86, Sandro Botticelli (Italy)

• Used by Wölfflin to illustrate Clarity, Closed form, and Plane compositional style.

Peter Paul Rubens, The Lion Hunt, 1621

• Baroque formal traits including Confusion, Open form, and Recession.

• Figures that are not contained, expands beyond the canvas

• Dramatic

Nicolas Poussin, Death of Germanicus (France) 1626-28

• Classical alternative within Baroque art- NARRATIVE-HEAVY!

• Crisp, clean, morality story, contained scene

Caravaggio (Italy). Entombment. c. 1603

• Baroque drama

• Intense lighting

• Classical, narrative heavy, morality focused

*Other Baroque’s: varieties of realism.

This is Baroque drama realism, vs Celebrating the Birth, which is slice of life realism.

Jan Steen (Holland). Celebrating the Birth. 1664

• Psychological and social interests realism

• Slice of life (Cuckold symbol)

• 
  

Nicolas Poussin, Burial of Phocion, 1648

• Exemplifying the Classical Landscape genre in Baroque art

• Narrative Heavy

• Figures in the back, but the main focus is the dead body in the foreground

Jacob van Ruisdael, 1670, View of Haarlem from the Dunes at Overveen

• Representing 'Romantic' Landscape art in the Baroque period.

• Focusing more so on the beauty of the landscape

• Figures are very small