art his final terms

contrapposto

the intimatiion of a weight shift to one leg—associated with classical, Greco-Roman sculpture. Contrapposto provides the illusion of immanent motion, making the sculpture appear more lifelike.

Donatello, St. Mark, 1411

perspective (geometric)

mathematical drawing technique used to represent three-dimensional space on a two-dimensional surface, creating a realistic illusion of depth

brunelleschi panel of the baptistry?

perspective (atmospheric)

Observation allowed for the recognition of the haziness and flattening tonality of color (the greying of tone) that occurs when we look out at landscapes that are far in the distance. Sfumato: Leonardo began to so

leonardo da vinci, mona lisa, 1503

sfumato

Leonardo began to soften the edges of his forms, erasing hard outlines to create the illusion of roundedness and three dimensionality, and make the transitions from light to shadow less rigid and distinct.

leonardo da vinci, mona lisa, 1503

horizon-line isocephaly

in churches we see the heads of men walking about, moving at more or less the same height, while the feet of those further away may correspond to the knee-level of those in front of them

leon battista albert, de pictura, 1435

contract

formal, legally binding agreement between a patron (or commissioner) and an artist, detailing the specific requirements for creating a work of art.

jan van eyck, arnolfini and his wife, 1434

guild

regulated association of artists, craftsmen, or merchants, dominant from the medieval period through the Renaissance, designed to protect trade interests, ensure quality standards, and control training

donatello, st. mark, 1411

ultramarine

deep, brilliant blue pigment historically made by grinding the semi-precious stone lapis lazuli, really valuable

gentile da fabriano, adoration of the magi, 1423

Mihrab

highly decorated, symbolic, and architectural element featuring intricate calligraphy, arabesque patterns, and geometric designs, often highlighting Islamic artistic mastery

great mosque of tunisia, 836

macrocosm/microcosm

man is understood as a microcosm (a small, perfect form) who represents the macrocosm (the world in its entirety as imagined by God).

leonardo da vinci, vitruvian man, 1490

sprezzatura

to do many things well, and make them all look entirely effortless.

leonardo da vinci and his works

terribilità

a fearsome strength of

character, and outsized will and determination

michelangelo and his works

humanism

pursuit of an education in a secular context. Laymen (men unaffiliated with religious institutions) began to study works of philosophy, science and literature from classical antiquity

leonardo da vinci, vitruvian man, 1490

melancholia/melancholy

creativity and genius in the Renaissance. Melancholy became associated with artists because it caused both creativity and depression.

albrecht durer, melencholia I, 1514 or michelangelo as heraclitus in raphael’s school of athens, 1508

indulgences

a certificate or act granted by the Catholic Church, particularly during the Middle Ages and Renaissance, remitting temporal punishment in Purgatory for sins already forgiven

german broadside show johan tetzel selling indulgences, johannes tecelius pirnensis

decorum

a rule of art first defined by Leonardo da Vinci: works of art should stylistically fit the subjects being portrayed.

michelangelo, the last judgement after edits, 16th century

woodblock printing/relief

raised parts left behind on wood that is used to print

albrecht durer, four horsemen of hte apocalypse, 1498

engraving/intaglio

lines are incised directly onto a petal plate or wood to print

albrecht durer, melencholia I, 1514

paragone

the debate/literary comparison of different art forms in the Renaissance (poetry and painting)

leonardo, mona lisa, 1503, leo used this to argue that painting could surpass poetry in invoking nature (what was absent seem like it was present(

vitruvian man

depicting a nude male figure in two superimposed poses within a circle and a square, representing the ideal, harmonious, and mathematical proportions of the human body. It bridges art and science, exemplifying Renaissance humanism

obv 1492

fresco

durable, ancient mural painting technique (derived from Italian for "fresh") where pigments are applied directly onto wet lime plaster (buon fresco) or, less commonly, dry plaster (fresco secco)

michelangelo, last judgement, 1534

nominalism

a religious philosophy that maintains that the universe can only be understood through direct experience rather than through speculations about the ideal or abstract nature of things. Nominalism focuses on the small experiences of nature, taking the ordinary, mundane stuff of life as signs of divine intention

Workshop of Robert Campin, Annunciation Triptych or Merode Altarpiece, ca. 1425, oil on panel, triptych (three-paneled)

reformation

the shift in Northern European art from medieval/Catholic imagery toward Protestant ideals, focusing on personal faith, secular life, and biblical, naturalistic themes

pieter aertsen, butcher’s stall, 1551

counter-reformation

Catholic art produced in response to the Protestant Reformation, aimed at reaffirming church doctrine, inspiring piety, and emotional engagement (Catholic Church response)

Paolo Veronese, Feast in the House of Levi, 16th c., oil, Italy