AP Art History Unit 3 flashcards

Flashcards for AP Art History Exam 4 (Images 48-98, excluding removed ones):

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Image 48: Catacomb of Priscilla

- Artist: Unknown

- Form: Excavated tufa and fresco

- Function: Early Christian burial site

- Content: Frescoes depicting biblical scenes (e.g., Good Shepherd, Resurrection of Lazarus)

- Context: Late Antique Europe (c. 200–400 CE); reflects Christian persecution and symbolism.

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Image 49: Santa Sabina

- Artist: Unknown

- Form: Brick, stone, wooden roof

- Function: Early Christian basilica church

- Content: Spacious nave, clerestory windows, Corinthian columns

- Context: Late Antique Europe (422–432 CE); transition from Roman basilicas to Christian worship spaces.

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Image 50: Vienna Genesis (Rebecca and Eliezer at the Well / Jacob Wrestling the Angel)

- Artist: Unknown

- Form: Illuminated manuscript (pigments on vellum)

- Function: Religious narrative for liturgical use

- Content: Biblical scenes with vibrant colors and continuous narrative

- Context: Early Byzantine Europe (6th century CE); one of the oldest surviving biblical manuscripts.

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Image 51: San Vitale

- Artist: Unknown

- Form: Brick, marble, stone veneer, mosaic

- Function: Byzantine church

- Content: Central-plan design, mosaics of Justinian and Theodora

- Context: Early Byzantine Europe (526–547 CE); exemplifies Justinian’s imperial and religious patronage.

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Image 52: Hagia Sophia

- Artist: Anthemius of Tralles and Isidorus of Miletus

- Form: Brick, ceramic, stone, mosaic

- Function: Cathedral/mosque/museum

- Content: Massive dome, pendentives, mosaics of Virgin and Child

- Context: Constantinople (532–537 CE); symbol of Byzantine innovation and interfaith history.

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Image 53: Merovingian Looped Fibula

- Artist: Unknown

- Form: Cloisonné (gold, garnets)

- Function: Decorative brooch for status/wealth

- Content: Abstract animal motifs, geometric patterns

- Context: Early Medieval Europe (6th century CE); Merovingian elite culture.

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Image 54: Virgin (Theotokos) and Child between Saints Theodore and George

- Artist: Unknown

- Form: Encaustic on wood

- Function: Devotional icon

- Content: Central Virgin and Child flanked by soldier saints

- Context: Early Byzantine (6th–7th century CE); iconoclasm debates.

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Image 55: Lindisfarne Gospels (St. Matthew, Cross-Carpet Page)

- Artist: Attributed to Eadfrith

- Form: Illuminated manuscript (ink, pigments, gold on vellum)

- Function: Liturgical use

- Content: Intricate interlacing patterns, evangelist portrait

- Context: Early Medieval Europe (c. 700 CE); Hiberno-Saxon fusion art.

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Image 58: Church of St. Foy

- Artist: Unknown

- Form: Stone

- Function: Pilgrimage church

- Content: Reliquary of St. Foy, tympanum with Last Judgment

- Context: Romanesque Europe (1050–1130 CE); Crusades-era pilgrimage routes.

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Image 59: Bayeux Tapestry

- Artist: Unknown

- Form: Embroidery on linen

- Function: Commemorate Norman Conquest of England

- Content: Narrative of Battle of Hastings, Halley’s Comet

- Context: Romanesque Europe (c. 1066–1080 CE); Norman propaganda.

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Image 60: Chartres Cathedral

- Artist: Unknown

- Form: Limestone, stained glass

- Function: Gothic cathedral

- Content: Flying buttresses, rose windows, relic of Virgin’s tunic

- Context: Gothic Europe (1145–1220 CE); Marian devotion and scholasticism.

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Image 61: Bible moralisée (Blanche of Castile and Louis IX)

- Artist: Unknown

- Form: Illuminated manuscript (ink, tempera, gold leaf)

- Function: Royal education and moral instruction

- Content: Dedication page with queen and king, biblical parallels

- Context: Gothic Europe (1226–1234 CE); Capetian dynasty’s piety.

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Image 62: Röttgen Pietà

- Artist: Unknown

- Form: Painted wood

- Function: Devotional object

- Content: Emotional depiction of Mary holding dead Christ

- Context: Late Medieval Europe (1300–1325 CE); mysticism and affective piety.

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Image 63: Arena Chapel (Lamentation by Giotto)

- Artist: Giotto di Bondone

- Form: Fresco

- Function: Private chapel for Scrovegni family

- Content: Emotional human figures, spatial depth in biblical scenes

- Context: Proto-Renaissance Italy (1305 CE); shift from Byzantine style.

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Image 66: Merode Altarpiece (Annunciation Triptych)

- Artist: Workshop of Robert Campin

- Form: Oil on wood

- Function: Private devotion

- Content: Domestic Annunciation scene with symbolic objects

- Context: Northern Renaissance (1427–1432 CE); disguised symbolism.

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Image 67: Pazzi Chapel

- Artist: Filippo Brunelleschi

- Form: Masonry

- Function: Franciscan chapter house

- Content: Harmonious proportions, pietra serena accents

- Context: Early Renaissance Italy (1429–1461 CE); revival of classical geometry.

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Image 68: Arnolfini Portrait

- Artist: Jan van Eyck

- Form: Oil on wood

- Function: Marriage portrait

- Content: Detailed domestic scene, convex mirror, symbolic objects

- Context: Northern Renaissance (1434 CE); oil technique and bourgeois values.

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Image 69: David (Donatello)

- Artist: Donatello

- Form: Bronze

- Function: Civic pride (Medici patronage)

- Content: First freestanding nude since antiquity, contrapposto

- Context: Early Renaissance Italy (1440–1460 CE); humanism and classical revival.

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Image 70: Palazzo Rucellai

- Artist: Leon Battista Alberti

- Form: Stone

- Function: Urban palace

- Content: Tripartite façade, pilasters, classical orders

- Context: Renaissance Italy (1450 CE); application of De re aedificatoria.

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Image 71: Madonna and Child with Two Angels

- Artist: Fra Filippo Lippi

- Form: Tempera on wood

- Function: Private devotion

- Content: Mary with playful angels, landscape background

- Context: Early Renaissance Italy (1465 CE); humanizing religious figures.

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Image 72: Birth of Venus

- Artist: Sandro Botticelli

- Form: Tempera on canvas

- Function: Medici court decoration

- Content: Venus on shell, Zephyr and Chloris

- Context: Renaissance Florence (1484–1486 CE); Neoplatonism and classical myth.

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Image 73: Last Supper

- Artist: Leonardo da Vinci

- Form: Oil and tempera on plaster

- Function: Refectory mural for Santa Maria delle Grazie

- Content: Christ’s announcement of betrayal, linear perspective

- Context: High Renaissance (1494–1498 CE); experimental techniques.

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Image 74: Adam and Eve (Engraving)

- Artist: Albrecht Dürer

- Form: Engraving

- Function: Print circulation

- Content: Idealized nudes, symbolism of Fall

- Context: Northern Renaissance (1504 CE); fusion of classical and Christian themes.

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Image 75: Sistine Chapel Ceiling

- Artist: Michelangelo

- Form: Fresco

- Function: Papal chapel decoration

- Content: Creation of Adam, Sibyls, prophets

- Context: High Renaissance (1508–1512 CE); humanist theology under Julius II.

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Image 76: School of Athens

- Artist: Raphael

- Form: Fresco

- Function: Papal apartments (Vatican)

- Content: Philosophers in classical architecture, central Plato and Aristotle

- Context: High Renaissance (1509–1511 CE); celebration of classical knowledge.

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Image 77: Isenheim Altarpiece

- Artist: Matthias Grünewald

- Form: Oil on wood

- Function: Hospital altarpiece for St. Anthony’s Order

- Content: Crucifixion with gruesome details, Resurrection panel

- Context: Northern Renaissance (1512–1516 CE); comfort for plague victims.

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Image 78: Entombment of Christ

- Artist: Jacopo Pontormo

- Form: Oil on wood

- Function: Altarpiece

- Content: Mannerist elongated figures, vivid colors

- Context: Mannerism (1525–1528 CE); rejection of High Renaissance balance.

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Image 79: Allegory of Law and Grace

- Artist: Lucas Cranach the Elder

- Form: Woodcut

- Function: Protestant propaganda

- Content: Contrast between Old Law (damnation) and Grace (salvation)

- Context: Reformation Germany (c. 1530 CE); Lutheran theology.

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Image 80: Venus of Urbino

- Artist: Titian

- Form: Oil on canvas

- Function: Dowry gift for marriage

- Content: Reclining Venus, domestic setting

- Context: Venetian Renaissance (1538 CE); eroticism and marital virtue.

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Image 83: Hunters in the Snow

- Artist: Pieter Bruegel the Elder

- Form: Oil on wood

- Function: Seasonal cycle for private home

- Content: Winter landscape with hunters, genre details

- Context: Northern Renaissance (1565 CE); human-nature relationship.

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Image 85: Calling of St. Matthew

- Artist: Caravaggio

- Form: Oil on canvas

- Function: Contarelli Chapel altarpiece

- Content: Dramatic chiaroscuro, divine light on tax collectors

- Context: Baroque Italy (1597–1601 CE); Catholic Counter-Reformation.

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Image 86: Henry IV Receives Maria de’ Medici’s Portrait

- Artist: Peter Paul Rubens

- Form: Oil on canvas

- Function: Royal propaganda (Marie de’ Medici Cycle)

- Content: Allegorical figures, dynamic composition

- Context: Baroque Flanders (1621–1625 CE); glorification of monarchy.

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Image 87: Self-Portrait with Saskia

- Artist: Rembrandt van Rijn

- Form: Etching

- Function: Personal expression/print sales

- Content: Rembrandt and wife in informal pose

- Context: Dutch Golden Age (1636 CE); exploration of light and identity.

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Image 89: Ecstasy of St. Theresa

- Artist: Gian Lorenzo Bernini

- Form: Marble, stucco, gilt bronze

- Function: Cornaro Chapel altarpiece

- Content: Theatrical sculpture with golden rays, mystical experience

- Context: Baroque Rome (1647–1652 CE); Counter-Reformation emotionalism.

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Image 91: Las Meninas

- Artist: Diego Velázquez

- Form: Oil on canvas

- Function: Royal court portrait

- Content: Infanta Margarita with attendants, mirror reflecting king/queen

- Context: Spanish Baroque (1656 CE); meta-commentary on art and reality.

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Image 92: Woman Holding a Balance

- Artist: Johannes Vermeer

- Form: Oil on canvas

- Function: Domestic interior scene

- Content: Woman weighing jewels, light symbolizing moral judgment

- Context: Dutch Golden Age (1664 CE); vanitas themes.

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Image 93: Palace of Versailles

- Artist: Louis Le Vau, Jules Hardouin-Mansart

- Form: Masonry, stone, gold leaf

- Function: Royal residence and power symbol

- Content: Hall of Mirrors, expansive gardens, Apollo imagery

- Context: Absolute monarchy France (begun 1669 CE); Louis XIV’s centralization.