Masterpieces of Western Art Midterm

Michelangelo

(1475-1564) An Italian sculptor, painter, poet, engineer, and architect. Famous works include the mural on the ceiling of the Sistine Chapel, and the sculpture of the biblical character David. Embodies tortured artist figure; inspired by stone-cutter nanny; works for Medici; works for cardinal as a sculptor; prolific artist.

Raphael

(1483-1520) Italian Renaissance painter and architect; he painted frescos, his most famous being The School of Athens; worked on private altarpieces. Lines = harsh/sharp (typical of the time) Traditional color system (i.e. Adoration of the Maji) --> way to show how expensive it was; simple distinction between light and dark

Defining characteristics of classical aesthetics

*Idealization* (compare with Plato's Theory of Forms, or idealist metaphysics in general - exposes the "really real" of the universe); *purity simplification, and clarity*; *balanced compositions and figural poses*; *regularity* and *symmetry*; relaxed, with controlled emotions; concerned with heroic virtue and models of *patriotism*; *monumentality* (speaking "to the ages"); *essentialism* (fixed number of models or "types" of ideal behavior or art, constituting the "essence" of art or human virtue - an idea related to idealism); *workshop-based* model of learning art (contrast with modernist genius)

Giotto's Madonna Enthroned

1310. The painting has a traditional Christian subject, representing the Virgin Mary and the Christ Child seated on her lap, with saints and angels surrounding them on all sides. This particular representation of the Virgin is called a Maestà, a popular representation at the time. It is often celebrated as the first painting of the Renaissance due to its newfound naturalism and escape from the constraints of Gothic art.

Pieta, Michelangelo

1498. Marble. Commissioned for the private chapel of Cardinal Jean Villiers de La Grolais. Intended to be a tomb sculpture; Madonna holding Jesus. Lamentation/grief. Mary and Jesus = sickly. Sitting on throne-like sculpture (royal/regal). Mary = too young (aesthetic) --> playing with story to present something new/different. Adds a sash ("Michelangelo was making this") --> adds his signature to religious image.

Madonna of the Meadow, Raphael

1505. Oil on board (greater tonal range; richer/more vivid; holds up over time). Smaller scale The scene shows the Virgin with Christ and St. John the Baptist in a highly serene and tender moment against a landscape backdrop which places the scene in a Tuscan setting; The figures in the painting are arranged in a pyramidal composition (similar to Leonardo's Virgin of the Rocks); used a lighter color palette that was more in keeping with the palette used by his teacher, Perugino. Madonna = prettier and softer brow-bone, more feminine; careful geometry.

Portrait of Maddalena Doni, Raphael

1506. Oil on panel. One of a pair that depict a recently married merchant and his wife. About wealth/status --> intricate fabrics, textures, fabrics. The composition of the portraits resembles that of the Mona Lisa: the figures are presented in the same way in respect to the picture plane, and their hands, like those of the Mona Lisa, are placed on top of one another. But the low horizon of the landscape background permits a careful assessment of the human figure. This relationship between landscape and figure presents a clear contrast to the striking settings of Leonardo, which communicate the threatening presence of nature. But the most notable characteristic that distinguishes these portraits from those of Leonardo is the overall sense of serenity which even the close attention to the materials of clothes and jewels (which draw one's attention to the couple's wealth) is unable to attenuate. Every element - even those of secondary importance - works together to create a precise balance.

Madonna of the Goldfinch, Raphael

1506. Oil on wood. In this painting, as in most of the Madonnas of his Florentine period, Raphael arranged the three figures - Mary, Christ and the young John the Baptist - to fit into a geometrical design. Though the positions of the three bodies are natural, together they form an almost regular triangle. The background is one typical of Raphael. The natural setting is diverse and yet all calmly frames the central subject taking place.

School of Athens, Raphael

1508-12, fresco. Secular lunette (Greeks were not Christians). Many aspect were imagined/invested by Raphael (didn't exist at the time of Greeks). Which philosophers? Plato/Aristotle (look like Leonardo). Ptolomy, Euclid, Zoroaster. Figure standing out = Raphael (elevate the status of art and artist, inserts him into the piece). Taking geometry to a new level. 2 introverted figures = Diogenes and Heraclitus (perhaps stealing of Michelangelo's figure).

Sistine Chapel Ceiling, Michelangelo

1508-1512. Fresco (painting on fresh plaster, literally a part of the wall). The ceiling's various painted elements form part of a larger scheme of decoration within the Chapel, which includes the large fresco The Last Judgment on the sanctuary wall, also by Michelangelo. Little vignettes = unusual (most Renaissance ceilings = 1 scene); Obsessed with bodies; themes = Genesis, drunkenness of Noah.

Martyrdom of Saint Lawrence, Bernini

1617. Marble. It depicts the saint at the moment of his martyrdom, being burnt alive on a gridiron. In depicting a highly naturalistic St Lawrence, tortured and yet undergoing some kind of spiritual epiphany, the sculpture presents a taste of many of the themes that Bernini would adopt during the course of his artistic oeuvre, and that would come to represent many of the most pertinent features of the artistic traditions in Italian Baroque art—that of solitary figures undergoing intense emotional states, whilst being depicted with illusionistic verisimilitude. Unlike earlier depictions of Lawrence, there are no other figures—no sign of his judge, torturers or spectators witnessing in depth. Rather the focus is solely on the martyr and his emotional state. A clear religious statement of spiritual salvation—inner strength overcomes external bodily pain. Smell of flesh becomes sweet.

David, Bernini

1623. Sculpture. The subject of the work is the biblical David, about to throw the stone that will bring down Goliath, which will allow David to behead him. Compared to earlier works on the same theme (notably the David of Michelangelo), the sculpture broke new ground in its implied movement and its psychological intensity. The statues of the Renaissance masters had been strictly frontal, dictating the spectator to view it from one side, and one side only. Bernini's David is a three-dimensional work that needs space around it and challenges the viewer to walk around it, in order to contemplate its changing nature depending on the angle from which it is seen. The sculpture relates to an unseen entity - in the form of Goliath, the object of David's aggression - as well as to the spectator, caught in the middle of the conflict. The warrior even literally oversteps the boundaries between life and art, putting his toes over the edge of the plinth. The conventions of time, as well as space, were challenged. Instead of the serene constancy of, for example, Michelangelo's David, Bernini has chosen to capture a fraction of time in the course of a continuous movement. Thus the latent energy that permeates Michelangelo's David is here in the process of being unleashed. On an emotional level, Bernini's sculptures were revolutionary for exploring a variety of extreme mental states, such as the anger seen here. David's face, frowning and biting his lower lip, is contorted in concentrated aggression. Baldinucci tells an anecdote of how Barberini would hold a mirror up to Bernini's face so the artist could model the sculpture on himself. This bears witness to Bernini's working methods, as well as to the close relationship he enjoyed with the future pope. - in action, narrative, drama, emotion in face, life-size. - theatricality

Ecstasy of Saint Teresa, Bernini

1647-1652. Sculpture. It is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. It depicts Teresa of Ávila. The two central sculptural figures of the swooning nun and the angel with the spear derive from an episode described by Teresa of Avila, a mystical cloistered Discalced Carmelite reformer and nun, in her autobiography, The Life of Teresa of Jesus. Make Teresa craving for penetration --> woman at the height of sexual euphoria. Dissolution into liquid bliss, as if marble had been molten.

Blessed Ludovica Albertoni, Bernini

1671-74. Sculpture. The figure of Ludovica Albertoni is set above the altar of the Altieri Chapel on the left side of the church of San Francesco a Ripa. Bernini designed an architectural setting that focuses attention on the marble sculpture, framing it within an archway he cut into an existing wall where a painting had previously hung. The main figure is flanked by deep returns set at oblique angles decorated with earlier frescoes of Saint Clare of Assisi and Blessed Ludovica herself providing alms to a beggar. The central figure is lit on both sides by large windows concealed by the returns. The figure of Ludovica Albertoni is presented on a mattress at the moment of mystical communion with God. The folds of her habit reflect her state of turmoil, and her head is thrown back onto an embroidered pillow supported by a headrest. Beneath her figure is a deeply crumpled sculpted cloth above a red-marble sarcophagus, where Ludovica is interred. The panel behind her is carved with stylized pomegranates; flaming hearts adorn the base of the windows. She is surrounded by putti, and waiting to rise to the Holy Spirit. Visualization of pure bliss. Most intense physical experience and emotional/spiritual trascendence.

Frieze

A broad horizontal band of sculpted or painted decoration, especially on a wall near the ceiling. In the Parthenon, low-relief Athenians. Pan-ethnic celebration parade. More action and diversity with respect to animals/humans. Depiction of a scene in stone; Calm, refined, choreographed.

Stylobate

A continuous base supporting a row of columns in classical Greek architecture.

Aisle

A passageway to either side of the nave that is separated from the nave by colonnades or arcades, a row of pillars or columns.

Architrave

A plain, unornamented lintel on the entablature.

Triglyph

A projecting grooved element alternating with a metope on a Greek temple.

Metope

A square space between triglyphs in a Doric frieze. In the Parthenon, high-relief centaurs. 92 metopes, different styles (Athenians vs. Amazons; Greeks vs. Trojans; Gods vs. Giants). Foes = an 'other'.

Finial

A usually foliated ornament forming an upper extremity especially in Gothic architecture.

Pointed arch

An arch with a pointed crown, characteristic of Gothic architecture.

Contrapposto

An asymmetrical arrangement of the human figure in which the line of the arms and shoulders contrasts with, while balancing, those of the hips and legs.

Entablature

Assemblage of horizontal moldings and bands supported by and located immediately above the columns of Classical buildings or similar structural supports in non-Classical buildings.

Amiens Cathedral

Begun 1220, Limestone, 476 ft long, 138 ft tall.

East Pediment

Birth of Athena --> see-through drapery; carved by apprentices; no heads; very detailed backs.

Ambulatory

Continuation of the aisled spaces on either side of the nave around the apse (semicircular projection at the east end of the church) or chancel (east end of the church where the main altar stands) to form a continuous processional way.

Representation of human body in Amiens

Hierarchy of bodies (more strength in Christ); very small bodies; religion is more of the focus; quantity > quality; reasons not to focus on body (practical reasons, less focus on materialism, God who creates man, only God creation perfection)

Triforium

In a Gothic cathedral, the blind arcade gallery below the clerestory; occasionally, the arcades are filled with stained glass.

Rose window

Large circular stained glass windows found in Gothic churches.

Pheidias's Athena

Lost massive chryselephantine (gold and ivory) sculpture of the Greek goddess Athena, made by Pheidias and his assistants and housed in the Parthenon in Athens; this statue was designed as its focal point; 38 ft tall, weighed over a ton

Architects of the Parthenon

Pericles, Pheidias, Iktinos & Kallikrates

Flying buttresses

Stone supports on the outside of a building that allowed builders to construct higher, thinner walls that contained large stained-glass windows

Optical refinements

Subtle adjustments that the artist made on a piece to make it look more perfect.

Lancets

Tall, narrow windows ending in pointed arches in a Gothic cathedral.

Frontispiece

The combination of elements that frame and decorate the main, or front, door to a building; focal point.

Nave

The long central part of a church, extending from the entrance to the altar, with aisles along the sides.

Transept

The part of a church with an axis that crosses the nave at a right angle; area that breaks the whole rectangle.

Tympanum

The semi-circular or triangular decorative wall surface over an entrance, door or window, which is bounded by a lintel and an arch. It often contains sculpture or other imagery or ornaments. In all tympanums, Jesus Christ with hands up (different registers)

Ribbed vault

The style of vault that was used during the Gothic period that was more delicate compared to the barrel vaults of the Romanesque period; 2 barrel vaults intersecting --> give strength/height/openness

Capital

The topmost member of a column.

Cornice

The topmost part of a classical entablature.

Pediment

The triangular upper part of the front of a building in classical style, typically surmounting a portico of columns, which contains sculpture. In the parthenon, it is composed of free-standing Gods.

Clerestory

The upper part of the nave, choir, and transepts of a large church, containing a series of windows. It is clear of the roofs of the aisles and admits light to the central parts of the building.

quatrefoils

a four-lobed decorative pattern common in Gothic art and architecture

Jamb figures

sculpted figures located on the vertical framing posts of a door or portal; such figures were meant to scare away evil -- both real and imagined -- and thus they symbolically protected the fabric of the structure and any inhabitants within

Archivolts

the continuous molding framing an arch. In Romanesque or Gothic architecture, one of the series of concentric bands framing the tympanum; hell scenes next to Dead being led to hell)

Iconography

the visual images and symbols used in a work of art or the study or interpretation of these; in all tympanums, Jesus Christ with hands up

Marriage of the Virgin, Raphael

1504. Oil on panel. Inspired by Perugino's Delivery of the Keys. Depicts a marriage ceremony between Mary and Joseph. We can enter the space; Not too crowded. Exhibits linear perspective.

The Entombment, Raphael

1507, oil on wood.

Papal Apartments, Raphael

1508-12, fresco. Paint lunettes based on themes (philosophy, math). Collapse between painting and architecture. Linear perspective. Colorist: bright colors (not dark, light). Light coming from the right --> shadow. Individuality of figures (but a lot of interaction).

Last Judgment, Michelangelo

1536-1541. Fresco. What's evolved in Michelangelo's style? Color: things stand out more in the latter. More chaotic. Devil figures --> obsessed with death (context: Rome's been sacked, Reformation).

Apollo and Daphne, Bernini

1622-1625. Marble. Life-sized Baroque marble sculpture. When Apollo, fated by Cupid's love-exciting arrow, sees Daphne, he is filled with wonder at her beauty and consumed by desire. But Daphne has been fated by Cupid's love-repelling arrow and denies the love of men. As the Nymph flees he relentlessly chases her—boasting, pleading, and promising everything. God turns her into a laurel tree. Hair and fingers turning to twigs. Nudity in protective casing of tree-bark. Help from a member of his workshop, Giuliano Finelli, who undertook the sculpture of the details that show Daphne's conversion from human to tree, such as the bark and branches, as well as her windswept hair.

Parthenon

447-438 BCE, Pentalic marble, 228.0 x 101.4 ft, 45 ft tall

Portal

An opening in a wall of a building, gate or fortification, especially a grand entrance to an important structure. Doors, metal gates, or portcullis in the opening can be used to control entry or exit.

Bay

Any division of a building between vertical lines or planes, especially the entire space included between two adjacent supports; thus, the space between two columns, or pilasters, or from pier to pier in a church, including that part of the vaulting or ceiling between them

Gothic architecture

Characterized by pointed arches, high ceilings, flying buttresses, and large stained-glass windows; style of architecture that values height and exhibits an intricate and delicate aesthetic.

Ionic column

Identified by the scroll-shaped ornaments at the capital, which resemble a ram's horns called volutes; rests on a rounded base.

Icon

In Eastern Christian tradition, a representation of sacred personages or events in mural painting, mosaic, or wood. After the iconoclastic controversy of the 8th- 9th century, which disputed the religious function and meaning of icons, the Eastern Church formulated the doctrinal basis for their veneration: since God had assumed material form in the person of Jesus Christ, he also could be represented in pictures. Icons are considered an essential part of the church and are given special liturgical veneration.

Trumeau

In church architecture, the pillar or center post supporting the lintel in the middle of the doorway.

Bernini

Italian sculptor and architect of the Baroque period in Italy. As an architect and city planner, he designed secular buildings, churches, chapels, and public squares, as well as massive works combining both architecture and sculpture, especially elaborate public fountains and funerary monuments and a whole series of temporary structures (in stucco and wood) for funerals and festivals. His art is about passion, ecstasy, intensity.

Nave arcade

The series of arches supported by piers separating the nave from the side aisles.

David, Michelangelo

1501- 1504, marble, 17 × 6.5 ft. Late 15th century: patrons wanted sculptures for the top of Cathedral. David = symbol of Florence. Transformed Duccio's piece into his own. Changes narrative (David is not a body) Trying to create the hyper-masculine. Fine detail (i.e. veins on hand).

The Goat Amalthea with the Infant Jupiter and a Faun, Bernini

1609-1615. Carrara marble. 17 inches. The earliest known work by Bernini. Throughout his teenage years, he produced numerous images containing putti, chubby male children usually nude and sometimes winged. Distinct from cherubim, who represent the second order of angels, these putti figures were secular and presented a non-religious passion. Lustiness, naughtines.

Polykleitos, Doryphoros (Spear Bearer)

One of the best known Greek sculptures of classical antiquity, depicting a solidly built, muscular, standing warrior, originally bearing a spear balanced on his left shoulder. Rendered somewhat above life-size, the lost bronze original of the work would have been cast circa 440 BCE, but it is today known only from later (mainly Roman period) marble copies. The work nonetheless forms an important early example of both Classical Greek contrapposto.

Doric column

The oldest and simplest Greek style--its found on the Parthenon in Athens. This column features fluted sides, a smooth rounded top, or capital, and no separate base.

Pinnacle

Vertical ornament of pyramidal or conical shape, crowning a buttress, spire, or other architectural member.