Art 112 Quiz 1

Facade

usually, the front of a building; also the other sides when they are emphasized architecturally

Pilaster

A flat, rectangular, vertical member projecting from a wall of which it forms part. It usually has a base and a capital and is often fluted.

Quatrefoil

A shape or plan in which the parts assume the form of a cloverleaf.

Lantern(Brunelleschi's)

A small tower-like structure, usually with windows, capping the top of a dome to stabilize the dome and admit light to the interior.

Sfumato

A smoke like haziness that subtly softens outlines in painting, particularly applied to the paintings of Leonardo da Vinci and Correggio.

International style

A style in European art of the 14th and early 15th centuries marked by sinuous line, rich color, and decorative surface detail.

Peaceful city,detail from effects of good gov't in the city and country

Ambrogio Lorenzetti Image 14-17 "Peaceful city, detail from effects of good gov't in the city and country" 1339 fresco Proto Renaissance This fresco shows a thriving city, full of busy people and colorful architecture. The people are buying, trading, socializing and building.

peaceful country detail from effects of good gov't in the city and country

Ambrogio Lorenzetti Image 14-18 "peaceful country detail from effects of good gov't in the city and country" 1339 Fresco Proto Renaissance possibly the first landscape in western art. shows laborers, cattle and the peaceful hillside.

Ceiling in Camera Degli Sposi

Andrea Mantegna Image 21-49 Ceiling of The Newlyweds in Camera Degli Sposi 1474 Fresco 8' 9" in diameter Early renaissance uses foreshortening(visual contradiction) to give the painting depth uses di sotto in su, meaning from below upward. incorporates painted architecture to create illusion of 3-dimensionality. flat ceiling Roll's on angles legs unique perspectives

Dead Christ

Andrea Mantegna Image 21-50 Dead Christ 1500 Tempera on Canvas 2' 2 3/4"X2' 7 7/8" Early renaissance purposefully downplayed feet so that they wouldn't dominate the composition The fabric over him shows his figure painting in Milan, displayed down low to give perspective emotional power overwhelming feet don't overwhelm composition foreshortening in the arms Christ looks very Spanish

David

Andrea Verrocchio Image 21-12 David 1470 Bronze 4' 1 1/2" high early renaissance has clothes, shows confidence shoulders are back uses contrapposto still commissioned by the Medicci family Verrocchio trained Da Vinci. compared to(21-11) Donatello's David sculpture, this one has more defined muscles, with different stance/mood. more confident, head up instead of shyly down

Bartolommeo Colleoni(Equestrian Statue)

Andrea Verrocchio Image 21-16 "Bartolommeo Colleoni(Equestrian Statue)" 1495 bronze 13" high early renaissance has more attitude more powerful on a pedestal he appear more cocky/arrogant statues on pedestals appear more noteworthy give different perspective, and distance.

Hercules and Antaeus

Antonio Pollaiuolo Image 21-13 "Hercules and Antaeus" 1475 Medicci Plazzo Bronze 1' 6" high early renaissance overpowering someone wrestling match b/w Hercules and Antaeus straining of the knees Mythological subject Hercules wears a lion's pelt. Antaeus, son of earth, is being lifted from the earth to that his power is drained. Pollaiuolo was the first(but not last!) artist in renaissance to dissect cadavers to study the muscles/tendons; human form.

Birth of Venus

Botticelli Image 21-1 Birth of Venus 1486 Tempera on canvas 5'9"X 9' 2" Early Renaissance Commissioned by the Medicci family Painting based on a poem by Angelo Poliziano. spent time with/tutored Lorenzo Medicci Venus, goddess of love +fertility being born on a shell +blown in by Zephyr winds. Delicate, innocent and beautiful the winds gently effect the composition + movement of the painting 3-dimensional figures Iconography, symbolism Atmospheric perspective

Florence Cathedral Dome

Brunelleschi Image 21-29A &B Florence Cathedral Dome 1402-1436 Brunelleschi turned his focus to architecture later in his career. Cosimo Medici supported him dome itself goes up like a pointed arch ribs support the structure, while the lantern on top holds the exterior ribs in place, as well as allowing light into the church. women would be lifted up onto the scaffolding(via pulleys) to give the workers beer and bread, which helped them work longer.

Madonna Enthroned

Cimabue(teacher of Giotto) Image 14-6 "Madonna Enthroned" 1280 Tempera and gold leaf on wood 12'7"*7'4" Proto Renaissance The perspective of this piece is confusing, as the angels are stacked in a slanted row instead of overlapping. very similar faces/forms showing little individualism.

David

Donatello Image 21-11 "David" 1428 Bronze 5' 21/4" Early Renaissance Commissioned for the Medicci courtyard. David might represent Florence, Italy, to symbolize strength/independence(because Florence is freed from the Italian city states). Goliath's sword in one hand, a rock in the other.(could symbolize Milan's brute military vs. Florence's culture) First free standing sculpture since Greek/Roman era. God helped David slay Goliath, so maybe Florence wanted to represent that god helps them. relaxed contrapposto & the sensuous beauty of nude Greek gods. young, strong, handsome homoerotic tones to the sculpture

Gattamelata(Equestrian Statue)

Donatello Image 21-15 "Gattamelata(Equestrian Statue) 1453 Bronze 12'2" high early renaissance Man is Erasmo da Narni evoked power based on ancient roman emperors together, man and horse convey an overwhelming image of irresistible strength

St Mark(at or San Michele)

Donatello Image 21-5 "St Mark(at or San Michele)" 1413 Marble 7' 9" high Early Renaissance sculpture was a commission for the Guild of Linen drapers. 10 ft. off the ground, thus perspective and proportion must be considered. standing with contrapposto: natural weight shift in the hips of a statue/ sculpture drapery falls naturally & moves with the body 3 dimensional

Feast of Herod

Donatello Image 21-8 Feast of Herod 1427 Gilded Bronze relief 1' 11 1/2"*1' 1 1/2" Early Renaissance Captures the individuality of each figure illusion of depth on a 2 dimensional surface(through use of the foreground, middle-ground and background) & overlapping figures. subject: Salome brings the head of John The Baptist to Herod. This bronze panel is on the front of the baptistery/baptismal pond in sienna.

Virgin and Child enthroned with Saints

Duccio Image 14-10 "Virgin and Child enthroned with Saints" 1308 Tempera and gold leaf on wood 7'*13' Proto Renaissance on the back of another altar piece

The Betrayal of Jesus

Duccio Image 14-12 "The Betrayal of Jesus panel on the back(fig 14-11) of the Maseta altarpiece(fig 14-10). 1308 Tempera and gold leaf on wood 1' 10 1/2"*3'4" Proto Renaissance Judas is seen giving Jesus a "false kiss". Peter is cutting the ear off a high priests servant. The disciples right) are fleeing, their robes moving after them realistically They appear to almost be stepping off a cliff.

Sacrifice of Isaac(Baptistery doors comp.)

Filippo Brunelleschi Image 21-2 Sacrifice of Isaac 1402 Gilded Bronze relief 1'9" *1' 5' 2" early Renaissance subject: God ordered Abraham to sacrifice his only son Isaac, but an angel urgently intervened before he had to actually kill him. somewhat cluttered composition, but more representational. Isaac appears weak and vulnerable The angel physically stops Abraham. Quatra Foil design

Adoration of the Magi

Gentile Fabriano Image 21-17 Adoration of the Magi altar piece from Strozzi chapel 1423 Tempera on wood 9' 11" *9' 3" Early renaissance international style: made to be more extravagant/glitzy Triptych? Jewels placed on the painting to add dimension and richness Horse is foreshortened sits on Predella(base) with 3 more paintings.

Madonna Enthroned(Ognisanti Madonna)

Giotto Image 14-8 Madonna Enthroned(Ognisanti Madonna) 1310 Tempera and gold leaf on wood 10' 8" *6' 8" Proto Renaissance Giotto was a student of Cimabue This decorative gold-leaf piece includes a more realistic depiction of the human form, as well as, a more accurate perspective of the angles at her side.

Lamentation, Arena Chapel

Giotto Image 14-9 Lamentation, Arena Chapel 1305 Fresco 6' 6 3/4" *6'3/4" Proto Renaissance This fresco epitomizes Giotto's style and will be used as a reference to his work. It depicts when Jesus was taken down from the cross The mourning and grief is obvious on the figures faces blue-green background color helps to create a receding backdrop while the tree and the rock help to balance out the composition. Angels above have movement.

Annunciation and Nativity

Giovanni Pisano Image 4-4 "Annunciation Nativity, and Adoration of the sheapards, relief on the pulpit of the cathedral, Pisa, Italy 1302 marble 2' 10 3/8"*3'7". Proto Renaissance the clingy, "wet" drapery in this piece stands out more than in Nicolai's version. Instead of looking outwards, the figures are all looking in.

Palazzo Pubblico

Image 14-16 Palazzo Pubblico Siena Italy 1288-1309 Siena's Palazzo Pubblico has a concave façade and a gigantic tower visible for miles around. The tower served as both a defensive lookout over the countryside and a symbol of the city-state's power.

Pediment

In Classical architecture, the triangular space(gable) at the end of a building, formed by the ends of the sloping roof above colonnade.

Chiaroscuoro

In drawing or painting, the treatment and use of light and dark, especially the gradations of light that produce the effect of modeling.

Orthogonals

In linear perspective drawing, orthogonals are the diagonal lines that can be drawn along receding parallel lines(or rows of objects) to the vanishing point.

Relief sculpture

In sculpture, figures projecting from the background of which they are part. The degree of relief is designated high, low(bas), or sunken. In the last, the artist cuts the design into the surface so that the highest projecting parts of the image are no higher than the surface itself.

Humanism

In the renaissance, an emphasis on education and on expanding knowledge(especially of classical antiquity), the exploration of individual potential and a desire to excel, a commitment to civic responsibility and moral duty.

Last supper

Leonardo da Vinci Image 22-4 Last supper 1495 oil and tempera on plaster 13' 9" X29' 10" High Renaissance In Santa Maria Della Grazie. mixed oil and tempera with varnish on plaster, which caused flaking/fading theme of 3(indicative of holy trinity) each group of apostles arranged in threes as Jesus says that one will betray him(Judas, with money bag). linear perspective atmospheric perspective the church where this painting is was bombed during WWII

Mona Lisa

Leonardo da Vinci Image 22-5 Mona Lisa 1505 oil on wood 2' 6 1/4"X1' 9" High Renaissance subject: Lisa di Antonio Maria Gherardini, the wife of a wealthy Florentine banker.(mona="my lady") painting trimmed down at sides. in the soft light at dusk, which Leonardo thought was the most beautiful. follows humanism: common(non-religious figure) people being portrayed . she's at 3/4 pose. shaved eyebrows and straight hairline(to create a larger forehead) was in fashion at the time. best known painting Dusky shading Chiaroscuro & atmospheric perspective haziness-sfumato she's wearing a veil The eyes are looking interactive they look like they follow you soft facial expressions hands gently covering the other pyraimental shape to her.

Madonna(Virgin of the Rocks)

Leonardo de Vinci Image 22-2 Madonna(virgin of the Rocks) 1490 oil on wood(transferred to canvas) 6' 6 1/2"X4' High Renaissance sfumato(eerie/hazy background) bright colors Mary's hand is perfectly foreshortened figures arranged in a triangle in the composition Painted for an altar piece. Virgin Mary and St. Anne, with Jesus and John the Baptist as infants. Atmospheric perspective(fading blue)

Sacrifice of Isaac(Baptistery doors comp.)

Lorenzo Ghiberti Image 21-3 Sacrifice of Isaac 1402 Gilded Bronze Relief 1'9"*1' 51/2" Early Renaissance Isaac challenging his father This one won the competition of commission when compared to Brunelleschi's. Balanced, Open composition. More passive than Brun's, but more physically idealized, especially when noticing Isaac's Chiseled body and defiant, strong body language.

Damned Cast into Hell

Luca Signorelli Image 21-42 Damned Cast into Hell, San Brizio Chapel 1500 fresco 23' wide early renaissance commissioned for pope Alexander VI. used as strong imagery to strike fear into people so that they would go to church. Good understanding of human form though this painting. foreshortened muscular bodies saint Michel working w/other angels to cast people into hell powerful imagery figures sparaced on the top figures on bottom clustered together no stacking of figures, mass of figures instead green signifies dying flesh.

Tribute Money(in Brancacci Chapel)

Masaccio Image 21-18 Tribute Money(in Brancacci Chapel) 1427 Fresco 8' 4 1/8" *19' 7 1/8" Early renaissance 3 stories in one image landscape 3-dimensional atmospheric perspective gentle shading subject: tax collector asking Jesus for Money to enter the city. shows St. Peter 3 times; speaking to the tax collector, speaking in a group, and getting money from the fish in the river. Nuanced shading in clothes +mountains Chiaroscuro shading in man's legs Atmospheric perspective: fuzzy, receding blue-green.

Holy Trinity(In Santa Maria Novella)

Masaccio Image 21-20 Holy Trinity(In Santa Maria Novella) 1427 fresco 21' 10 5/6" *10' 4 3/4" Early Renaissance Christ being crucified symbolism of the Holy spirit God's collar symbolizes a white dove Lines in the fresco lead to Jesus's feet 2 robed figures in the foreground are Lorenzo Lenzi and his wife(they commissioned the fresco) message on the tomb is about inevitable death the foreground is lighter than the background Masaccio died at the age of 27

Moses

Michelangelo Buonarroti Image 22-14 Moses, from the tomb of Pope Julius II 1515 Marble 7' 8 1/2" high High Renaissance commissioned by Pope Julius II Pope Julius pulled Michelangelo from this project to work on the Sistine Chapel, which was upsetting to him as a sculptor Old testament prophet Subject:Moses is holding the 10 commandments tablets. Horns on him Iconography of himself Amazingly detailed +realistic features in his hair, arms and muscles. realistic hands relaxed pose fabric of his robe forms to his body

Bound Slave

Michelangelo Buonarroti Image 22-15 Bound slave(Rebellious Prisoner) 1515 Marble 7' 5/8" high High Renaissance Made to be a part of pope Julius's tomb.

Ceiling of the Sistine Chapel

Michelangelo Buonarroti Image 22-17 Ceiling of the Sistine Chapel 1508-1512 Fresco 128"X45' High Renaissance ("Laocoun and his sons" influenced Michelangelo) Took four years to complete He created scaffolding in order to be able to comfortably paint the ceiling. Had to consider the curvature of the surface: the spandrals(triangular pieces) are an example of curve. He hated painting, but had to appease the pope. sculpturesque forms painted more than 300 figures illustrating the creation & fall of humankind 58 square feet of ceiling The creation of Adam is one of the well known paintings on the ceiling.

David

Michelangelo Buonarroti Image 22-13 David 1501 Marble 17' high High Renaissance He was under the pressures of the pope. Statue 14' tall single block of marble in Accademia gallery, Florence much older/stronger more confident than other 2 David sculptures(by Donatello and Verocchio). stands in contrapposto most detailed out of all the Davids has strap & is carrying a stone looking out in the distance with smug expression.

Palazzo Medici-Riccardi

Michelozzi de Bartolommeo Image 21-35 Palazzo Medici-Riccardi 1445 The medici palace varied stone work creates variety: heavy bottom layer symbolizes family. very blocky and weighty Cosimo wanted a palace to be able to display his art collection.

Pulpit Sculpture of the baptistery

Nicolai Pisano Image 14-2 Pulpit sculpture of the baptistery 1295 Marble 15" high Proto Renaissance located in the baptistery building next to the leaning tower of Pisa. served has a platform for the priest to stand on to address the congregation. This pulpit features high-relief sculpture throughout it. Medevil features: lions used for symbolic protection circular arch

Annunciation and nativity

Nicolai Pisano Image 14-3 "Annunciation and Nativity, and Adoration of the shepherds, relief panel Pisa Italy 1259 Marble 2' 10" *3'9" Proto Renaissance depicts an angel coming to tell the virgin mary that she is going to give birth to Jesus.

Fresco(buon/secco)

Painting on lime plaster, either dry(dry fresco or fresco secco) or wet (true, or buon fresco). In the latter method, the pigments are mixed with water and become chemically bound to the freshly laid lime plaster.

Battle of San Romano

Paolo Uccello Image 21-23 Battle of San Romano 1445 Tempera on wood 6'X10" 5" Early Renaissance one of three panels created for Lorenzo's bedroom. subject: Niccolo da Tolentino leads the charge against the sienese. Chaos in the foreground Lances/Spears on the ground act as perspective lines(orthogonals) Orange tree represents "medicinal apples" in reference tot he medicis. Iconography

Christ delivering the Keys of the Kingdom

Perugino Image 21-41 Christ delivering the Keys of the Kingdom 1481 Fresco 11' 5 1/2"X18' 8 1/2" Early renaissance Painted for the Vatican Wall of the Sistine Chapel Important staple of the early renaissance St. Peter-first pope. includes Brunelleschi's Principles of proportion(middle ground subjects: tribute money (like 21-18) and the stoning of Christ). Door is on the horizon line, and is itself the vanishing point one point linear perspective symmetrical foreground extreme sharp drapery dark colors in the foreground.

Birth of the Virgin

Pietro Lorenzetti Image 14-15 "Birth of the Virgin" 1342 Tempera on wood 6' 1" *5'11" Triptych(three-parted) format. Depicts St. Anne giving birth to mary mother of Jesus This perspective "breaks the 4th wall" in order to allow insight into this intimate event.

Annunciation

Simone Martini Image 14-14 "Annunciation" 1333 Tempera and gold leaf on wood 10' 1" *8' 8 3/4" Proto Renaissance Simone was a pupil of Duccio International style Bright colors & exquisite ornamentation in the halos suitable for palaces

Contrapposto

The disposition of the human figure in which one part turned in opposition to another part(usually hips and legs on way, shoulders and chest another), creating a counter positioning of the body about its central axis.

Center Plan (villa Rotunda)

The horizontal arrangement of the parts of a building or of the buildings and streets of a city or town, or a drawing or diagram showing such an arrangement. In an axial plan, the parts of a building are organized longitudinally, or along a given axis; in a central plan, the parts of the structure are of equal or almost equal dimensions around the center.

Cornice

The projecting, crowning member of the entablature framing the pediment.

Capital

The uppermost member of a column, serving as a transition from the shaft to the lintel.

Foreshortening

The use of perspective to represent in art the apparent visual contraction of an object that extends back in space at an angle to the perpendicular plane of sight.

Venetian,Florentine,Mannerism

Venetian: pertaining to or designating a style of painting developed in Venice principally during the 15th and 16th centuries, characterized chiefly by rich, often warm colors and the illusion of deep space. Florentine: pertaining to or designating the style of art developed in Florence during the late 13th to 15th centuries. Mannerism: a style of later Renaissance art that emphasized "artifice," often involving contrived imagery not derived directly from nature.

Campanile

a bell tower of a church, usually, but not always, freestanding.

Pendentives

a concave, triangular section of a hemisphere, four of which provide the transition from a square area to the circular base of a covering dome.

Lapis Lazuli

a deep-blue mineral composed mainly of lazurite with smaller quantities of other minerals, used mainly as a gem or as a pigment.

Loggia

a gallery with an open, arcade or a colonnade on one or both sides.

Perspective

a method of presenting an illusion of the three-dimensional world of a two dimensional surface.

altarpiece

a panel, painted or sculpted situated above and behind an altar.

Baptistry

a part of a church or formerly a separate building used for baptism.

Stringcourses

a raised horizontal molding, or band in masonry. Its principle use is ornamental, but usually reflects interior structure.

Pulpit

a raised platform in a church of mosque in which a priest or imam stands while leading the religious service.

Arcade

a series of arches supported by piers or columns.

Colonnade

a series of row of columns, usually spanned by lintels

Triptych

a three-paneled painting, ivory plaque, or altarpiece. Also a small, potable shrine with hinged wings used for private devotion.

Cupola

an exterior architectural feature composed of a drum with a shallow cap; a dome.

Atmospheric perspective

creates the illusion of distance by the greater diminution of color intensity, the shift in color toward an almost neutral blue, and the blurring of contours as the intended distance between eye and object increases.

Picture Plane

in perspective, the imaginary plane corresponding to the surface of a picture, perpendicular to the viewers line of sight.

Sistine Chapel Restoration

one of the most significant art restorations of the 20th century

Vanishing point

that point toward which receding parellel lines appear to converage.

Spandrals

the almost triangular space between one side of the outer curve of an arch, a wall, and the ceiling or framework.

Portraiture

the art of making portraits.

Commissions

the hiring and payment for the creation of a piece, often on behalf of another.

Horizon Line

the line or circle that forms the apparent boundary between earth and sky

Predella

the narrow ledge, on which an altarpiece rests on an altar.