Art History Midterm

Arena Chapel

Giotto, Padua Italy, 1305

Individual experiences are highlighted.

No fully frontal poses.

There is composition, architecture and conversation happening in all scenes.

What does the Arena Chapel Depict

Depicted The Passion (Era from when Jesus Died to his revival)

Panels show different vices such as infidelity or justice

Panels from the Arena Chapel

Lamentation: Christ being mourned after being taken off the cross

Betrayal of Jesus: People crowded around Jesus, with sticks and fire

Entry into Jerusalem: Jesus is in a blessing pose, riding in on a donkey

Palazzo Pubblico in Siena

Ambrogio Lorenzetti Late 1200s

Looking at society if it was not dangerous

Italy at the time was broken up and ruled by different courts

The town hall was a defensive fort, reflecting the aggression at the time

Frescos in the town hall like Effects of Good Government in the City and the country by Lorenzetti is an an allegory of good government in the Siense republic

Annunciation altarpiece

Simone Martini, Siena Cathedral, Italy, 1333

Martini was important for the creation of International Gothic Style

International Gothic Style: radiant colors, flowing lines, weightless figures, spaceless settings, elegant figures.

Biblical figures are interacting with one another

Frame was equally important to the painting

Artworks from Late- medieval Italy

Nicola Pisano, pulpit of the baptistry of Pisa, 1259-1260

Giotto, Arena Chapel, Padua, 1305, (Know a few panels like Lamentation, Betrayal of Jesus, Entry into Jerusalem)

Ambrogio Lorenzetti, fresco program at the Palazzo Pubblico in Siena

Simone Martini, Annunciation altarpiece, Siena Cathedral, 1333

Andrea Pisano, south doors of the Baptistry of San Giovanni, Florence, 1330

Artwork from Late Medieval Northern Europe

Robert Campin, Merode altarpiece, 1425-1428

Jan van Eyck, Ghent Alterpiece

Roger van Der Weyden, Deposition, 1435

Hans Memling, Diptych of Martin van Niuwenhove, 1487

Tilman Riemenschneider, Assumption of the Virgin, 1495

Artwork From Quattrocento Italy

Donatello, David ca. 1440-1460

Massaccio, Holy Trinity, Santa Maria Novella, Italy, 1424-1427

Filippo Brunelleschi, Dome and Loggia of the Ospedale degli Innocenti, 1419

Michelozzo di Bartolomeo, Palazzo Medici, 1445

Piero della Francesca, Flagellation, 1445-1465

Alberti, Sant’Andrea, Mantua, 1470

Mantegna, Camera Picta, Mantua, Italy

Artwork from Renaissance and Mannerism in Cinquecento Italy

Leonardo, Madonna of the Rocks, 1483

Raphael, Madonna in the Meadow, 1505

Raphael, Galatea, Villa Farnesina, 1513

Michelangelo, Moses, 1513

Michelangelo, Last Judgement, 1536

Giovanni Bellini, Feast of the Gods, 1514

Titian, Meeting of Bacchus and Ariadne, 1523

Parmigianino, Madonna with the Long Neck, 1534

Tintoretto, Last Supper, 1594

Veronese, Christ in the House of Levi, 1573

Giulio Romano, Palazzo Te, Mantua

Artwork from Renaissance and Mannierism in Northern Europe, Spain

Matthias Grunewald, Insheim Altarpeice, 1510

Durer, Fall of Man, 1504

Lucas Cranach the Elder, Law and Gospel, 1530

Jan Gossaert, Neptune and Amphritrite, 1516

Pieter Brugel the Elder, Netherlandish Proverbs, 1559

El Greco, Burial of Count Orgaz, 1586

Artists from Baroque in Northern Europe

Reubens, Arrival of Marie de Medici at Marseilles, 1623-1625

Anthony van Dyck, Charles I Dismounted, 1623

Rembrandt, Self-Portrait, 1659-1660

Mansart and Charles le Brun, Galerie de Glaces, Hall of Mirrors, Versailles, 1680

Poussin, Et in Arcadia Ego, 1655

Inigo Jones, Banqueting House, 1619

Christopher Wren, St Paul’s Cathedral, 1675-1710

Different Techniques

fescos, Buon fresco, Fresco secco, tempera, oil, Woodblock, engraving

Merode altarpiece

Robert Campin, Northern Europe1425-1428

A biblical event happening in a domestic setting, had the viewer feel more connected to biblical events.

Annunciation is set in a Flemish merchant’s home

Mary is calm, showing shes ready to be the mother of Mary

Ghent Alterpiece

Jan van Eyck, 1432

Grisaille- imitation of stone

Multi-paneled painted altarpieces were popular in Flemish Churches.

The interior shows the salvation from Original Sin of Adam and Eve and God the Father

Public devotional art

Closed alter is more subdued colors, showing John the Baptists and John the Evangelist

Also the annunciation occurring in a Flemish town

Deposition/ Decent from the cross

Roger van Der Weyden, 1435

Vividness of emotion, showing the viewer how they should feel

Not a deep landscape, but in a shallow area and removed unnecessary figures, concentrated view

Private chapel devotional art due to its size. This was an altarpiece for a church or chappel, mass would be held in front of this.

Linear perspective, drapery with a life of its own

Holy Trinity

1427 Fresco Santa Mario Novella, Florence

Public art, inscription wrote in Italian, for public to view

Roman greek architecture.

Deep space that is ACCURATE, using linear perspective to create a convincing illusion using mathematics

Vanishing point, orthogonals, horizon line

Light and shadow to build relief

Diptych of Martin van Niuwenhove

Hans Memling, Belgium, 1487

To the left, Mary holds Christ who reaches for an apple, which represents original sin

To the right, Martin van Niuwenhove shows wealth through jewelry and lavish purple fabric and his hands are in a raised praying motion

More intimate approach to prayer

Private Piece

Mirror behind Mary’s right shoulder showing Martin in the reflection, connects the pieces

David

Donatello, ca. 1440-1460

First lifesize, freestanding nude since classical antiquity

Taking many ideas from greeks and romans in subject,materialisty(bronze sculpture) and forms of the body, contropasto

refers to a battle just won by Florence, against a much stronger Millan military force. Story is that god intervened and helped David beat goliath, same as he did to help Florence.

Hospital of the Innocent

Filippo Brunelleschi, Italy, 1419

Orphanage

Round arches on slender Corinthian columns which references classical Roman Architecture.

Courtyard inside

Palazzo Medici,

Michelozzo di Bartolomeo, Florence 1445

Refers to the palazzo Vecchio (Florence Town Hall) with the rusticated masonry (stone blocks with rough texture facing outward)

classic roman antiquity and therefore renaissance humanism as the “layers” get smoother going up and a courtyard which was originally open to the public

revival style: the “levels” are different levels

Flagellation

Piero della Francesca, 1445-1465

Orthogonal lines used for perspective

scene of Christ is happening in the background, depicts the moment in he was whipped

Early Renaissance

Sant’Andrea

Alberti, Mantua Italy, 1470

combination of three ancient Roman forms: temple front, triumphal arch, and basilica.

On the façade, four giant pilasters with Corinthian capitals support an entablature and pediment.

Together these elements recall the front of ancient temples, such as the Pantheon in Rome.

the lower façade, with its tall central arch and flanking side doors evoke ancient triumphal arches such as the Arch of Constantine.

Camera Picta

Mantegna, Mantua Italy, 1474

Means the painted room

The architecture is actually painting

linear perspective, the orthogonals are defined by the balustrade

creating an illusion of looking up at something at an extreme angle: di sotto in sù.

Madonna in the Meadow

Raphael ,Vienna 1505

Unlike earlier depictions of the Virgin that emphasized Byzantine formality, Raphael’s Madonnas are grounded in human emotion and natural beauty

Likely a private devotional piece

landscape is painted in soft sfumato—a technique Raphael adapted from Leonardo to create atmospheric depth

adopted Leonardo's pyramidal composition and modeling of faces and figures in subtle chiaroscuro.

Upclose figures

Madonna of the Rocks

Leonardo, 1483

The four figures pray, point, and bless, and these acts and gestures and visually unite the individuals portrayed.

employed both chiaroscuro (the play of light and dark) and sfumato (the smoky, misty quality of the atmosphere). Which was groundbreaking work in oils

Triangular composition

chiaroscuro

the play of light and dark, used by Leonardo in Madonna of the Rocks

sfumato

the smoky, misty quality of the atmosphere used by Leonardo in Madonna of the Rocks

Galatea

Raphael, Villa Farnesina, Italy 1513

is about female beauty

based on Stanzas for the Joust of Giuliano de’ Medici by Angelo Poliziano

enhanced the liveliness of the image by placing the sturdy figures around Galatea in bounding and dashing movements that always return to her as the energetic center.

Moses

Michelangelo, Rome 1513

Apart of Tomb of Pope Julius II

Not since Hellenistic times had a sculptor captured as much emotional and physical energy in a seated statue

Last Judgement

Michelangelo, Alter wall of Sistine Chapel, Italy 1536 

depicted Christ as the stern Judge of the world, but not in the Byzantine and European medieval traditions

shows him as a twisting, almost nude giant who raises his mighty right arm in a gesture of damnation so broad and universal as to suggest that he will destroy all creation.

colorful clothed people go to heaven, darker clothed figures go to hell

pulpit of the baptistry

Nicola Pisano, Italy1259-1260

Made pulpits with wrap around narratives reliefs and made supports with free standing statues

4 evangelists

Eagle: John

Lion: Mark

Ox: Matthew

Human: Luke

south doors of the Baptistry of San Giovanni

Andrea Pisano, Florence, 1330

Gothic elements, showing scenes of John the Baptist’s life

Compositions are dynamic and filled with narrative detail, showcasing the influence of the Gothic style on Renaissance art.

Feast of the Gods

Giovanni Bellini, 1514

17 classical gods and goddesses eating and drinking in a lush forest clearing, painted in blended colors typical of the Venetian style

Arcadia landscape: idealistic place

bright and dense colors

people are interacting with each other

Meeting of Bacchus and Ariadne

Titian, 1523

Mythological painting

Rich and colors

Madonna with the Long Neck

Parmigianino, Italy, 1534

Shows Mary as elegant and ethereal

All figures are elongated

Mannerism Era

Assumption of the Virgin

Tilman Riemenschneider, Germany,1495

Wooden Carving

Intricate gothic forms

figures emotions are heightened

Not painted

Last Supper,

Tintoretto, Italy 1594

Dramatic, off centered

Mannerism

Perspective is off,

Palazzo del Te

Giulio Romano, 1525-1535 Mantua

Niches are hollow

Column do not support or hold anything up

Mannerism Architecture, rejecting stability and balance of the high renaissance

Insheim Altarpeice

Grunewald Matthias, France, 1510

This altarpiece once stood in a church that was part of a monastery dedicated to St. Anthony

idea of suffering and then the idea of redemption

Placed in a hospital for public viewing

Anatomy is not the main concern but the emotion of the moment

Fall of Man

Durer, Germany, 1504

Engraving,

classical (Greco-Roman) proportions

Mannerism ( elongated figures)

Law and Gospel

Lucas Cranach the Elder, Germany 1530

Influential in the Lutheran Reformation

The left (law) depicts the Catholic Church as materialistic. You can get into heaven with donations and decorating churches with commissioned art.

The right (gospel) shows the Lutheran belief that salvation is in god’s hands

Mannerism

elongated proportions, stylized poses, and lack of clear perspective

Christ in the House of Levi,

Veronese Italy, 1573

Dramatic background but simple actions

Bright colors

Majestic classical setting

Originally was supposed to be the last supper but the amount of people and grandness of the architecture hide this

All figures are moving, showing real Venetian people. And people from around the world who may have been in Venice

Neptune and Amphritrite

Jan Gossaert, 1516

Artists from Netherlands

Durer’s Fall of Man inspired the poses

architectural setting is based on ancient buildings in rome

contrapposto pose

Netherlandish Proverbs

Pieter Brugel the Elder, Berlin1559

Depicts around 100 proverbs

Not shunning but showing the intricacies of humanity

Scene is inviting

Burial of Count Orgaz

El Greco, Spain 1586

Made during Protestant reformation

backs up the Catholic ideology that good works will get into heaven

Count Orgaz being lowered into his grave by two saints, because he commissioned a lot of work for churches

Timeline is confusing, 16th century people from Toledo at a scene in the 14th century, saints are wearing clothing from the 16th century

Heaven and earth seem very close, almost tangible

elongated fuigures, manerism

Ecstasy of Saint Theresa

Bernini, Italy 1645

Sensual imagery to show surrender to divine love

physical body and sexual symbolism to get at the spiritual experience.

Baroque art involves the viewer and involves the senses

San Carlo alle Quattro Fontane

Borromini, 1638-1641

Movement in architecture

Eye is drawn to the dome in the interior

Interior is a hybrid of the greek cross and the dome

dove within a triangle at the top of the dome, representing the holy spirit

Calling of St Matthew,

Caravaggio, Italy 1597-1601

Dramatic lighting

Moment of conversion for Saint Matthew

Naturalism into the representation of sacred subjects

Christ is unidentifiable, people in the scene look real

tenebrism: Style of painting that uses strong contrasts of light and dark for dramatic effect

tenebrism

Style of painting that uses strong contrasts of light and dark for dramatic effect, used by Caravaggio

Triumph of the Barberini

Pietro da Cortona,Italy 1633

Figures are deeply connected, strong perspective, colorful

The program for the fresco was designed by a poet who highlighted Barberini family accomplishments

Battle Angels and Demons

Juan Martinez Montañez, Spain 1609-1913

Carving looks like flesh

Movement of the bodies and expressions is similar to the hellenistic style of Laocoön and His Sons

Las Meninas

Velazquez, Spain, 1656

Who is he painting? Why did he include himself? Why does the title revolve around maids and not the king and queen or their daughter

Illusion of reality

Arrival of Marie de Medici at Marseilles

Reubens, France 1623-1625

Mixing of mythological figures such as Neptune to convey allegory

Fler de lis, symbol of france

Decretive splendor and sensual

Representing the sea and the sky rejoicing in the queen’s safe arrival from Italy

Self-Portrait

Rembrandt, England1659-1660

Expressive face

controlled use of light

carried his spiritual quality of his religious works into his self portraits

light and dark create a balanced tranquil mood

Charles I Dismounted

Anthony van Dyck, French, 1623

Representing king in somewhat ordinary situation

Standing off center but still the focal point, looking down to observer

Hall of Mirrors

Mansart and Charles le Brun, Galerie de Glaces, Versailles, 1680

Mirrors are aligned with windows to create balance of light

gilded and jeweled furnishing

Mirrors also helped to create the illusion of an extended room

Illusion was a theme of Baroque architecture

Et in Arcadia Ego

Poussin, France 1655

Arcadia means an idealistic, happy place

Posture of the youth with one foot is similar to greco roman statues of neptune

Fabric looks greek

Leading classicism artist