ARTH 106 EXAM1

Limbourg Brothers, April, The Very Rich Hours of the Duke de Berry, 1413-16, Early Northern Renaissance

WHO: Duke de Berry (and his friends)
WHAT: Scene of spring in the prayer book
WHY: To remind and give pleasure of the spring time

Campin, The Merode Altarpiece, 1425-28, Early Northern Renaissance

WHO: Private Devotional Piece (patrons on far left)
WHAT: Scene of the Annunciation, and Joseph in his workshop
WHY: To show proper gender roles in the home

Roger van der Wyden, Portrait of a Lady, 1460, Early Northern Renaissance

WHO: Husband commissioned
WHAT: A society portrait of his wife
WHY: to show off his beautiful wife

Jan van Eyck, Arnolfini Wedding Portrait, 1434, Early Northern Renaissance 

WHO: The couple
WHAT: Shows them getting married with lots of symbolism (man looking out the window, candles, bed)
WHY: To confirm gender roles of the man going out into the world while the woman stays home

Van der Weyden, The Deposition, c. 1435, Early Northern Renaissance  

WHO: not sure, probably a church?
WHAT: A scene of christ being removed from the cross in modern clothing
WHY: makes the scene fell present and applicable to current peoples lifes.

skull of adam is present because christ was supposedly crucified where adam was buried.

CHRISTIAN NATURALISM - naturalism in the service of Christianity

Hieronymus Bosch, The Garden of Earthly Delights, c. 1510, Late Northern Renaissance 

WHO: private collector
WHAT: (professor interpretation: shows what the world would look like without the original sin) (other interpretation: shows a bunch of sins)
WHY:

“be fruitful and multiply”

quote from teach “fucking and playing”

Pieter Bruegel, Peasant Dance, 1567, Late Northern Renaissance

WHO: private collector
WHAT: scene of the day before lent, displaying drunken people, kissing, etc.
WHY: demonstrating the proverb of children learning bad behavior from parents

Holbein, The French Ambassadors, 1533, Late Northern Renaissance 

WHO: probably private
WHAT: the french ambassadors to the english court, one aristocrat (left) one priest (right)
WHY: a condemnation of humanism (they are too worldly and worship things)

Giotto, Return of Joachim, Arena Chapel, c. 1305, Italian Proto Renaissance

WHO: Scrovegni Family (afraid they would go to hell so commissioned the arena chapel)
WHAT: Scene of Joachim returning from trying to provide an offering so he could have a child
WHY: not 100% sure?

Brunelleschi, Foundling Hospital, designed in 1419, Early Italian Renaissance 

WHO:
WHAT: Revival of Classical Architecture (in Florence)
WHY: Horizontal instead of vertical building shows it is of this world, instead of trying to reach to the heavens

Alberti, San Andrea, Facade, b. 1472, Early Italian Renaissance

Donatello, St. Mark, 1411-13, Early Italian Renaissance

WHO: Commissioned by Linen Weavers guild
WHAT: A contrapposto pose of St. Mark
WHY: the different guilds paid to have a statue of their saint in the niches of the church

Donatello, David, after 1432, Early Italian Renaissance

WHO: The Medici?
WHAT: A statue of an adolescent david AFTER killing goliath
WHY: “the victor is he who defends the father land” basically telling men to go and defend their home

However there are possible homosexual undertones being covered up by that virtuous meaning

quote from teach “sweet little butt”

Donatello, Mary Magdalene, c. 1455, Early Italian Renaissance 

WHO:
WHAT: wood sculpture of mary, in a coat of hair (super uncomfy)
WHY: in the hair coat because its uncomfy and she is REPENTANT

also something to be said about the material? since its wood its more apt to change over time

Masaccio, The Tribute Money, 1425, Early Italian Renaissance 

WHO: probably private
WHAT: jesus telling st. peter to pay the taxes
WHY: “Render onto ceaser what is ceasers, and onto god, what is gods”

funny b/c churches do not pay taxes currently

Fra Angelico, Annunciation, c. 1440 - 1445, Early Italian Renaissance

WHO: for dominican monks
WHAT: 1 point perspective of the annunciation
WHY: teaches huminilty, obedience, and chastity

Botticelli, The Birth of Venus, 1486, Early Italian Renaissance 

WHO: private
WHAT: modest venus being blown ashore by personified wind and his lover
WHY:

Botticelli, St. Jerome, c. 1494-95, Early Italian Renaissance

WHO: for himself
WHAT: st. jerome is repentant for reading classical literature
WHY: botticelli is repentant for painting bad subjects?

Bellini and Titian, Feast of the Gods, 1514, Venetian Renaissance

WHO: Duke of Ferrara
WHAT: drunken orgy, ARCADIA (classical earthly paradise)
WHY:

Titian, Venus of Urbino, 1538, Venetian Renaissance

WHO: Duke of Urbino (for the bride, Guilia da Varano)
WHAT: Shows the adolescent bride, in the background there is a CASSONE (marriage chest)
WHY:

Titian, Pastoral Symphony, 1508, Venetian Renaissance

WHO:
WHAT: PASTORAL (idyllic life in the country side for city people)
WHY:

Leonardo da Vinci, The Last Supper, 1495-98, The High Renaissance

WHO: monks
WHAT: in a REFECTORY (dining hall)
WHY:

Harmonically Integrated (flows well)

Leonard da Vinci, Mona Lisa, 1503-06, The High Renaissance

WHO: Originally for Francesco del Giocondo, but Leo decided he liked it and kept it
WHAT: society portrait
WHY:

Bellini Saint Francis in Ecstasy, 1480, Venetian Renaissance 

WHO:
WHAT: St. francis “turning his back, on turning his back”
WHY: He is turning away from hermitting and singing praise to the creatures

he has STIGMATA (wounds of christ)

Palladio, Villa Rotunda, 1566-1569, The High Renaissance 

WHO:
WHAT: Inspired by the pantheon
WHY:

Raphael, School of Athens, 1509-1510, The High Renaissance

WHO:
WHAT: old philosophers dressed as current people
WHY: to show they have reattained greatness

Michelangelo, David, 1501-04, The High Renaissance

WHO:
WHAT: HEROIC NUDE (men should strive for this)
WHY: young men in Florence need to be prepared to defend

Parmagianino, Madonna With the Long Neck, 1535, Mannerism

WHO:
WHAT:
WHY:

NOT RELIGIOUS, STYLIZED, touch of eroticism

Bronzino, Allegory of Love, 1546, Mannerism

WHO: Gift of Cosimo I de medici to Francis I
WHAT: Incestual Relations
WHY: they’re freaks?

Michelangelo, The Last Judgement, 1540, Proto-Mannerism

Commission of Pope Clement VII , Michelangelo had to go back in and cover up nudity

Though, it was finished under Pope Paul III (counter reformation pope), its purpose was to scare people