Art History Exam 1

What are some possible reasons for making art? What are some of the major concerns?

religious expression, express power, express wealth/status

What are patrons, and why are they significant? What kinds of people are patrons?

supporters of the arts: political leaders and the government, religious leaders and organizations, the wealthy, civic organizations

What questions do we ask art historians?

who, what, when, where, how, why was it made, why does it look that way, what is the style

Art history

historians seek to understand the meaning of art from the point of view of its producers, artists, architects, and patrons

Erwin Panofsky German 1892-1968

was an influential scholar whose practices still influence the field today. How do we “read” works of art? What steps do we follow to understand the subject of a work of art?

Iconography

image writing

Iconology

the study of visual imagery and its symbolism. interpret the work of art as an embodiment of its cultural situation, to place it within broad social, political, religious, and intellectual contexts

Formal analysis

a detailed description of what the work looks like and is made of

contextual analysis

the relevant historical, socio-political, cultural, and economic events and trends that might have affected the artist and his/her use of the subject matter and the formal elements

conceptual analysis

explanation of the idea/concept of the work; includes the subject matter and
message/purpose--what the artist (might have) intended and what we now know about its function based on research

Formal elements

line, shape, color, primary and secondary hues + complementary colors, texture, space, perspective volume; composition; materials (medium), and technique; architectural plans and drawings

style

the combination of form and composition that makes a work distinctive

naturalism

representing figures, objects, settings, etc. as they look in the natural world; based on an observation of the natural world; preferred mode of the classical tradition

Idealism

the perfect form, whatever that means at that time, to that particular region/culture

abstraction

art that does not represent observed aspects of nature accurately, as they appear, or art in which visible forms are transformed into a stylized image

abstraction: non=representational or non-objective

a kind of abstraction in which the artist does not aim to produce recognizable natural imagery; he/she does not represent anything recognizable; there is no object that is reproduced

abstraction:

the artist manipulates forms to express subjective responses and emotions, rather than objective realities; forms may or may not be recognizable

abstraction: stylization

to represent something according to a particular style, instead of representing it according to observation and nature; to follow conventions/established rules or patterns.

what does formal analysis do to help us better understand art?

helps explain a point about the work

how does contextual analysis help us better understand art?

it considers the broader historical, social, political, cultural, and economic contexts

how does conceptual analysis help us better understand art?

what the artist might have intended and what we know about its function based on research

primary, secondary, and complementary colors

red, yellow, and blue. orange, green, violet. red and green

composition

organization, or arrangement, of forms in a work of art

what was Medieval society like, and what changes began to appear ca. 1200-1400?

the church was the most powerful institution, society was divided into clear classes, changes began like trade, towns, cities and eventually end up in the renaissance

What were some general characteristics of Medieval art? How did Giotto gradually change these standards? How did early Renaissance painters like Masaccio build on Giotto’s approach?

Giotto had more depth and shading and had a better scale of size of people

What societal and intellectual ideas and trends mark the Renaissance period as a whole? How are these ideas evident in works of art?

urban, more secular society and a new economic system forming. Revival of classical (Greek + Roman) art and philosophy. Emphasis of humanism + individualism: emphasizing anatomy, muscles, ideal figure, natural proportion. use of scientific and mathematical methods

contrapposto

free standing sculpture, counter balance weight shift

What was the impact of the invention of the printing press? How were books made before and after its invention? What methods were used?

changed how knowledge was shared, produced, and preserved. Books were made by hand and everything was hand painted, books were rare and expensive. Animal skin was used to make books

What were the major characteristics and distinctions of the Italian and Northern Renaissance? How did they influence each other?

Italian renaissance was all about simplicity, order, clarity. They also created human figures that were muscular and idealized. The Northern Renaissance was art with deep rich colors that had moral/religious symbolism

What were some of the major cultural centers in Flanders and Italy during the Early and High Renaissance? Why?

Italy during the early renaissance was controlled by wealthy families and that family was called the Medici family that would pay for artists and architects. Italy during the high renaissance was in Rome and Florence and its art focused on real + ideal humanism. These were major culture centers because of the Pope and there was more of an appreciation to art in these areas.

Who were some of the important patrons of the Italian Renaissance?

Medici Family in Florence, popes in Rome, court in Mantua Gonzaga family, Sforza family

How did the High Renaissance artists build upon the techniques and innovations of the Early Renaissance?

it showed art of the human body that was very complex and detailed. Leonardo wanted to know how the body worked and use the proper proportions. Used oil painting to have very rich colors and used light and shadow even more.

What were the ideals of the High Renaissance as seen in the works of Leonardo, Raphael, and Michelangelo?

Jesus in triangular position, even, linear perspective, simple color pallet with primary + secondary colors, ideal beauty, harmony

What ideas/innovations/contributions did Brunelleschi, Michelozzo, and Bramante make to Renaissance architecture?

columns with capitals, round arches, arcade, mathematical basis, proportion, balance, order

How Do Brunelleschi, Michelozzo, and Bramante Buildings Demonstrate Classical Elements and Values? what is their inspiration? Basic parts and plans of architecture?

columns, rounded arches, domes. their inspiration is from classical art and architecture and classical values. Fresco, marble, Tempera paintings. Naves: central hallways. Basilica rectangular building, 3 doors central + side aisles

Compare and contrast David by Donatello, Verrocchio, and Michelangelo

David by Michelangelo has more of a tense look and does not have a sword. This is likely before the battle with Goliath. Donatello has more of a younger looking David and he has a relaxed face because he has defeated Goliath and his sword is with him. Verrocchio’s representation of David has him clothed and a relaxed posture without him stepping on the head of Goliath.

What is distinct of Venice and Venetian painting during the Renaissance?

Venice was a large trading port on the water, colorito, warm glow, painterly brushwork

Compare and contrast The Last Supper by Leonardo and Tintoretto. What changes in form and values are evident in the High vs. the Late Renaissance? What was happening in the 1500s that may explain those changes in style?

Leonardo has an organized way of painting the last supper Tintoretto uses a more dramatic colors and shadowing to convey his message about the last supper.

Virgin and Child Enthroned Cimabue Late Medieval

Cimabue, Tempera and gold on wood, Florence Italy, Middle ages, Mary is on a throne where she is elevated and is front and center of the work, catholic church

Frescoes, Scrovegni (Arena) Chapel Lamentation panel Late Medieval

Giotto, Padua Italy, Frescos, Late Medieval, depicting life of Christ, Jesus being held by Mary after Jesus death, individualized people

The Effects of Good Government in the City and in the Country, Palazzo
Pubblico Late Medieval

Lorenzetti, Siena Italy, Fresco, market taking place before the plague, conveying a message about the government during this time

(Pietà) Late medieval

Vesperbild, Gothic Germany, wood and polychromy, Mary holding dead body of Christ after crucifixion, emotional and suffering

Portrait of Giovanni and Arnolfini and his Wife, Flemish

Jan van Eyck, oil on wood, early northern renaissance, lots of layers of clothes which means more wealth, dog represents loyalty, shoes are taken off because it is a sacred space, fruit means fertility

January: The Duke of Berry at Table, Très Riches Heures, France

Limbourg brothers, colors and ink on parchment, early northern renaissance, Duke is being served, there is a blank space behind an important person

Workshop, Mérode Altarpiece, Flanders (Flemish)

Master of Flemalle, oil on wood, early renaissance, triptych (3 panel work) , iconography (image writing), this was on a main alter in a home, telling a continuous story, Gabriel the angel telling Mary she is pregnant with Jesus, patrons outside the door looking in, Joseph has a wine board blood + body of Christ, white lilies mean purity, Mary is pure and humble

Foundling Hospital (Ospedale degli Innocenti), Florence, Italy

Brunelleschi, early italian renaissance, columns with capitals, round arches, arcade, mathematical basis, body in each circle for children,

David Florence, Italy

Donatello, early Italian renaissance, freestanding sculpture, contrapposto stance, reviving love of human anatomy, killing of Goliath

“Gates of Paradise,” Baptistery of San Giovanni, Florence, Italy

Ghiberti, Early Italian Renaissance, relief sculpture, bronze with gold leaves, panel, diminishing of scale, atmospheric perspective

Christ Giving the Keys to Saint Peter, Sistine Chapel, Vatican, Rome, Italy

Perugino, Early Italian Renaissance, Peter is the first pope and Jesus is handing keys to pope (authority) slight halos, individualized people, Fresco

The Tribute Money, Brancacci Chapel, Florence, Italy

Masaccio, fresco, early renaissance, atmospheric perspective, diminishing of scale, one light source shadows cast, contrapposto, linear perspective, 12 disciples, temple tax (fish)

Primavera, Florence, Italy

Botticelli, tempera on wood, early Italian renaissance, Spring, marriage celebration, fruit + flowers mean fertility, cupid

Mona Lisa

Leonardo, oil on wood, high renaissance, sfumato (smokey), has a triangular shape, not a typical portrait, she is not dressed up, very plain, slight smile, not an identifiable landscape

The Last Supper

Leonardo, tempera and oil on plaster, the night before crucifixion, 6 people on each side, linear perspective, Jesus in triangular shape representing the father, son, and the holy spirit, primary and secondary colors

The School of Athens, Stanza della Segnatura, Vatican, Rome

Raphael, fresco, high renaissance, for Pope Julius II, 4 branches of knowledge philosophy, poetry, religion, and law, Plato pointing up meaning spiritual, person in blue has earthy colors representing science, math, pointing down, philosophers of the ancient world

David, Florence

Michaelangelo, high renaissance, marble, contrapposto, tense expression, before the battle with Goliath,

Sistine Chapel and Ceiling, Vatican, Rome

Michelangelo, high renaissance, fresco, ceiling is element of design, design of concept is designo, tells a story from Genesis from Bible

The Pastoral Concert (Venetian)

Titian, warm glow, colorito, high renaissance, first to experiment with oil painting, painterly brushwork