AH Midterm
Leonardo da Vinci, cartoon for Virgin and Child with St. Anne and the Infant St. John, ca. 1505-1507
-In this cartoon for a painting of the Madonna and Child and two saints, Leonardo drew a scene of tranquil grandeur filled with monumental figures reminiscent of classical statues of goddesses. -Leonardo's style fully emerges in Madonna and Child with Saint Anne and the Infant Saint John, a preliminary drawing (cartoon) for a painting he made in 1505 or shortly thereafter. -tranquil grandeur and balance -The figures are robust and monumental, the stately grace of their movements reminiscent of the Greek statues of goddesses in the pediments of the Parthenon.
Michelangelo, David, 1501-4
-In this colossal statue for the Florentine Signoria, Michelangelo represented David in heroic classical nudity, capturing the tension of Lysippos's athletes and the emotionalism of Hellenistic statuary. -Idealization of human form -The figure of David is one that because of his nudity and pose reminds us of st marc statue -Different than youthful teenage one done earlier -Created originally for one of buttresses on duomo -Placed instead at piazza adjacent to Palazzo Vecchio -Shows that michelangelo was different and special -Sculpture has public and political function -Shows Michaelangelo thinking through expressive potential of controposto pose -Tells entire story of slaying of Goliath -In this one though the slaying and beheading is about to go down -Looking at goliath -showing momentum of energy -about to grab rock and sling goliath -build in intensity -veins in hands -david's furrowed brow and intense gaze -incredibly rich head of hair
Raphael, Marriage of the Virgin, 1504
-In this early work depicting the marriage of the Virgin to Saint Joseph, Raphael demonstrated his mastery of foreshortening and of the perspective system he learned from Perugino - Joseph competed with other suitors for Mary's hand. The high priest was to give the Virgin to whichever suitor presented to him a rod that had miraculously bloomed. Raphael depicted Joseph with his flowering rod in his left hand. In his right hand, Joseph holds the wedding ring he is about to place on Mary's finger. - Other virgins congregate at the left, and the unsuccessful suitors stand on the right. One of them breaks his rod in half over his knee in frustration, giving Raphael an opportunity to demonstrate his mastery of foreshortening. -The temple in the background is Raphael's version of a centrally planned building, featuring Brunelleschian arcades
Leonardo da Vinci, Madonna of the Rocks, 1483-1490
-In this groundbreaking work, Leonardo demonstrated the oil painter's ability to represent all the figures sharing the same light-infused environment, something impossible to achieve in sculpture. -presented the Madonna, Christ Child, infant John the Baptist, and angel in a pyramidal grouping -The four figures pray, point, and bless, and these acts and gestures, although their meanings are uncertain, visually unite the individuals portrayed. -Leonardo built on Masaccio's understanding and usage of chiaroscuro, the subtle play of light and dark. -Leonardo's most notable achievement in Madonna of the Rocks was to paint the figures as sharing the same environment.
Peter Paul Rubens, Elevation of the Cross, 1610, Cathedral of Antwerp
-In this triptych, Rubens explored foreshortened anatomy and violent action. The whole composition seethes with a power that comes from heroic exertion. The tension is emotional as well as physical. -Rubens's interest in Italian art, especially the works of Michelangelo and Caravaggio, is evident in the Saint Walburga triptych. The choice of this episode from the passion cycle provided Rubens with the opportunity to depict heavily muscled men in unusual poses straining to lift the heavy cross with Christ's body nailed to it. -By investing in sacred art, Flemish churches sought to affirm their allegiance to Catholicism and Spanish Habsburg rule after a period of Protestant iconoclastic fervor in the region.
Albrecht Altdorfer, The Battle of Issus, 1529
-Interweaving landscape, history, and 16th-century politics, Altdorfer painted Alexander the Great's defeat of the Persians for a patron who had just embarked on a military campaign against the Ottoman Turks. -Altdorfer was one of the first to draw and paint landscapes as subjects in their own right, and Battle of Issus reveals his interest in recording natural locales.
Leonardo da Vinci, Last Supper, ca.1495-8, Refectory, Santa Maria delle Grazie, Milan
-Jesus has just announced that one of his disciples will betray him, and each one reacts. He is both the psychological focus of Leonardo's fresco and the focal point of all the converging perspective lines. -his most impressive and largest work -the simple, spacious room emphasizes the paintings highly dramatic action -Jesus, with his outstretched hands, has just said, "one of you is about to betray me" -jesus appears isolated from the disciples and in perfect repose, the calm eye of the swirling emotion around him -jesus's head is the focal point of all converging perspective lines in the composition -the central window at the back, whose curved pediment arches above his head, frames his figure -range of emotions -In a bold experiment in mural painting, instead of using fresco, which has a matte surface, Leonardo mixed oil and tempera, and applied much of it a secco (to dried, rather than wet, plaster) in order to create a surface appearance that more closely approximated oil painting on canvas or wood. But because the wall did not absorb the pigment as in the buon fresco technique, the paint quickly began to flake (see "Fresco Painting"). -4 groups of 3
Leonardo da Vinci, Mona Lisa, ca.1503-5
-Leonardo's skill with chiaroscuro and atmospheric perspective is on display in this new kind of portrait depicting the sitter as an individual personality who engages the viewer psychologically -oil on wood -Lisa di Antonio Maria Gherardini, the wife of Francesco del Giocondo, a wealthy Florentine—hence, "Mona (an Italian contraction of ma donna, "my lady") Lisa." -Unlike earlier portraits, Leonardo's representation of Gherardini, who was about 25 years old when she posed for Leonardo, does not serve solely as an icon of status. Indeed, Gherardini wears no jewelry and holds no attribute associated with wealth. Leonardo's concern was rather to paint a convincing representation of a specific individual, both in terms of appearance and personality. - Mona Lisa sits quietly, her hands folded, her mouth forming a gentle smile, and her gaze directed at the viewer. Renaissance etiquette dictated that a woman should not look directly into a man's eyes. Leonardo's portrayal of this selfassured young woman without the trappings of power but engaging the audience psychologically is unprecedented and accounts in large part for the painting's unparalleled reputation today. -a mysterious uninhabited landscape. This setting, with roads and bridges seemingly leading nowhere, recalls that of his Madonna of the Rocks.
Pontormo, Entombment, 1525-8, Capponi Chapel, Santa Felicità, Florence
-Mannerist paintings such as this one represent a departure from the compositions of the earlier Renaissance. Instead of concentrating masses in the center of the painting, Pontormo left a void. -Pontormo rotated the conventional figural groups along a vertical axis. Several of the figures seem to float in the air. Those that touch the ground do so on tiptoes, enhancing the sense of weightlessness. Unlike High Renaissance artists, who concentrated their masses in the center of the painting, Pontormo left a void. This emptiness accentuates the grouping of hands filling that hole, calling attention to the void—symbolic of loss and grief -Many of the figures have elastically elongated limbs and undersized heads, and move unnaturally. For example, the torso of the foreground figure bends in an anatomically impossible way. The contrasting colors, primarily light blues and pinks, add to the dynamism and complexity of the work.
Francisco De Zurbarán, St. Serapion, 1628
-Many of his paintings are quiet and contemplative, appropriate for prayer and devotional purposes -The coarse features of the Spanish monk label him as common (Serapion had not yet been declared a saint at the time Zurbarán portrayed him), no doubt evoking empathy from a wide audience.
Josè de Ribera, Martyrdom of St. Bartholomew, ca.1639
-Martyrdom scenes were popular in Counter-Reformation Spain. Scorning idealization of any kind, Ribera represented Philip's executioners hoisting him into position to die on a cross -Ribera made naturalism and compelling drama primary ingredients of his paintings, which often embraced brutal themes, reflecting the harsh times of the Counter-Reformation and the Spanish taste for stories showcasing courage and devotion
Parmigianino, Madonna with the Long Neck, ca.1534-1540
-Parmigianino's Madonna displays the stylish elegance that was a principal aim of Mannerism. Mary has a small oval head, a long and slender neck, attenuated hands, and a sinuous body. -Although the elegance and sophisticated beauty of the painting are due in large part to the Madonna's attenuated neck and arms, that exaggeration is not solely decorative in purpose. Madonna with the Long Neck takes its subject from a simile in medieval hymns comparing the Virgin's neck with a great ivory tower or column, such as the one Parmigianino depicted to the right of the Madonna.
Clara Peeters, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611
-Peeters was a pioneer of still-life painting. In this breakfast piece, she reveals her virtuosity in depicting a variety of objects. She laid the groundwork for many Dutch still-life painters. -sense of depth from dark
Raphael, School of Athens, 1509-11, Stanza della Segnatura, Vatican Palace, Rome
-Raphael included himself in this gathering of great philosophers and scientists whose self-assurance conveys calm reason. The setting recalls the massive vaults of the ancient Basilica Nova -decoration of the papal apartments in Apolistic Palace of the Vatican -On the four walls of the Stanza della Segnatura, Raphael presented images symbolizing the four branches of human knowledge and wisdom under the headings Theology, Law (Justice), Poetry, and Philosophy -the setting is not a "school" but a congregation of the great philosophers and scientists of the ancient world. Raphael depicted these luminaries, revered by Renaissance humanists, conversing and explaining their various theories and ideas. -reflect ancient Roman architecture -Colossal statues of Apollo and Athena, patron deities of the arts and of wisdom, oversee the interactions. Plato and Aristotle are the central figures around whom Raphael carefully arranged the others - From the center, where Plato and Aristotle stand, Raphael arranged the groups of figures in an ellipse with a wide opening in the foreground. Moving along the floor's perspective pattern, the viewer's eye penetrates the assembly of philosophers and continues, by way of the reclining Diogenes, up to the here-reconciled leaders of the two great opposing camps of Renaissance philosophy. -The vanishing point falls on Plato's left hand, drawing attention to Timaeus.
Raphael, Baldassare Castiglione, ca.1514
-Raphael's painting of the famed courtier Count Baldassare Castiglione typifies High Renaissance portraiture in the increased attention the artist paid to the subject's personality and psychological state. - looks directly at the viewer with a philosopher's grave and benign expression, clear-eyed and thoughtful -The muted and low-keyed tones befit the temper and mood of this reflective middle-aged man. The background is entirely neutral, without the usual landscape or architecture.
Peter Paul Rubens, Arrival of Marie de'Medici at Marseilles, 1622-5
-Rubens painted 24 large canvases glorifying Marie de' Medici's career. In this historical-allegorical picture of robust figures in an opulent setting, the sea and sky rejoice at the queen's arrival in France. -An allegorical personification of France, draped in a cloak decorated with the fleur-de-lis (the floral symbol of French royalty; compare Fig. 25-24), welcomes her.
Caravaggio, Calling of St. Matthew, ca.1597-1601, Contarelli Chapel, San Luigi dei Francesi, Rome
-The stark contrast of light and dark is a key feature of Caravaggio's style. Here, Christ, cloaked in mysterious shadow, summons Levi the tax collector (Saint Matthew) to a higher calling. -Caravaggio injected naturalism into the representation of sacred subjects, reducing them to human dramas played out in the harsh and dingy settings of his time and place -Into this mundane environment, cloaked in mysterious shadow and almost unseen, Christ, identifiable initially only by his indistinct halo, enters from the right. -references creation of adam with pointing
Giovanni da Bologna, Abduction of the Sabine Women, completed 1583
-This sculpture was the first large-scale group since classical antiquity designed to be seen from multiple viewpoints. The three bodies interlock to create a vertical spiral movement. - exemplifies Mannerist principles of figure composition. Drawn from the legendary history of early Rome, the group of figures received its current title—relating how the Romans abducted wives for themselves from the neighboring Sabines—only after its exhibition -the viewer must walk around the statuary group, because the work changes radically according to the viewing point.
Titian, Venus of Urbino, 1536-1538
-Titian established oil-based pigment on canvas as the preferred painting medium in Western art. Here, he also set the standard for representations of the reclining female nude, whether divine or mortal. -Whether the nude woman is divine or mortal, Titian based his version on an earlier (and pioneering) painting of Venus (not illustrated) by Giorgione -Titian established the compositional elements and the standard for paintings of the reclining female nude. -Her softly rounded body contrasts with the sharp vertical edge of the curtain behind her, which serves to direct the viewer's attention to her left hand and pelvis as well as to divide the foreground from the background.
Michelozzo di Bartolommeo, façade of Palazzo Medici, begun 1445
-Tradition of palaces prior to the 15th century -tended to be statements of baronial power -urban palaces usually were conglomerations of multiple buildings without any unified design -rise of wealthy families so they needed somewhere to live -looks like a fortress -influx of capital in private families -one of the first buildings that is purpose built -built for medici family -reflective of change in family structure -palace has other purposes besides personal -meetings -ruggedness of stone on facade
Anthony Van Dyck, Charles at the Hunt, ca.1635
-Van Dyck specialized in court portraiture. In this painting, he depicted the absolutist monarch Charles I at a sharp angle so that the king, a short man, appears to be looking down at the viewer. -Van Dyck's placement of the monarch is exceedingly artful. He stands off center, but as the sole figure seen against the sky and with the branches of the trees pointing to him, he is the immediate focus of the viewer's attention, whose gaze the king returns -Casual Authority
Diego Velázquez, Las Meninas, 1656 Diego Velázquez, Las Meninas, 1656
-Velázquez intended this huge and complex work, with its cunning contrasts of real, mirrored, and picture spaces, to elevate both himself and the profession of painting in the eyes of Philip IV. -known for its visual and narrative complexity -The painter represented himself standing before a large canvas.
Titian, Pastoral Symphony, ca.1508-11
-Venetian art conjures poetry. In this painting, Titian so eloquently evoked the pastoral mood that the inability to decipher the picture's meaning is not distressing. The mood and rich color are enough. -Titian, a supreme colorist and master of the oil medium, cast a mood of tranquil reverie and dreaminess over the entire scene, evoking the landscape of a lost but never forgotten paradise -The fullness of their figures became the standard in Venetian art and contributes to their effect as poetic personifications of nature's abundance -Venetian painters, unlike their counterparts in Florence and Rome, generally painted directly on the canvas without preparatory drawings. Their nudes are neither precise anatomical studies nor idealized forms based on mathematics and geometry.
Veronese, Christ in the House of Levi, 1573 (Originally called Last Supper)
-Veronese's paintings feature superb color and majestic classical settings. The Catholic Church accused him of impiety for including dogs and dwarfs near Christ in this work originally titled Last Supper. -Veronese returned to High Renaissance composition, its symmetrical balance, and its ordered architectonics. -avoided solid colors in favor of half shades (light blues, sea greens, lemon yellows, roses, and violets), creating veritable flowerbeds of tone. -In a great open loggia framed by three monumental arches, Christ sits at the center of the splendidly garbed elite of Venice.
Jan van Eyck, Ghent Altarpiece, ca. 1423-1432, St. Bavo Cathedral, Ghent, Belgium
-Whole side panels fold in -insane amount of detail -difficult to actually make out all the details -jewels and crown -inscription goes around each of the figures -painting becomes an act of worship -pay tribute to your god and belief you have in god -interest in detail -tells a christian story within structure of picture -lamb of god being sacrificed
Duccio, Virgin and Child Enthroned with Saints, principal panel of the Maestà Altarpiece, 1308-11
-a lot of the same kinds of visual effects -emphasis on drapery folds -same effort to show them as physically present -throne separates them from other figures the back: -indicate who christ is by kissing him -moment of betrayal of christ
Interior of the Arena Chapel (Cappella Scrovegni), Padua, ca. 1305
-centralizing of artistic activities within cities -chapel is given name because originally built within ancient arena or circus -how then palace incorporated curve that area would have had -commissioned by enrico scrovegni -entirely covered with fresco -see lines of plaster in changes in coloring -paints interior with life of christ and virgin mary -show allegories
Gianlorenzo Bernini, Ecstasy of St. Teresa, 1645-52, Cornaro Chapel, Santa Maria della Vittoria, Rome
-displaying the motion and emotion that are hallmarks of Italian Baroque art -The work exemplifies the Baroque master's refusal to limit his statues to firmly defined spatial settings. -Bernini drew on the considerable knowledge of the theater that he derived from writing plays and producing stage designs.
Rembrandt van Rijn, Christ with the Sick around Him, Receiving the Children (Hundred Guilder Print), 1649
-know definitions of engraving and woodcut -very experimental improvisational technique -etching allows u to achieve a range of tone -rembrandt is open to a lot of experimental processes of etching and surprise results you get from it -always reworking plates so impressions are different -right to left-dark to light -figures are barely sketched out -he thinks about prints as way of showing religion through these parables
Michelangelo, vestibule of the Laurentian Library, Florence, 1524-34; staircase, 1558-1559
-michelangelo thinks about the ways he can sculpt interior space -includes scroll and columns -play within structure -volutes are usually scene on top of roof line but here they are just decorative -plays with rules of architecture -the staircase, which he originally wanted in wood, flows down into space like lava -Forms blob over into next form -Emphasizes that staircases take effort -Play between linear and organic form -He knows what columns and volutes and staircases do but he can manipulate it in a way that is playful and clever -Once you know the rules you can break them -his signature style -very different experience of space
Jan van Eyck, Giovanni Arnolfini and His Bride, 1434
-no more than 2 ft tall -wealthy italian merchat and his bride -people are becoming far more mobile -artistic exchange is a prevelant force -green is a sign of fertility -wedding dress is green -symbol of possibility of becoming pregnant -details of dogs and bed and chandelier -humanity of figures -there is company in the room -you can see it in mirror -inclusion of signature -"jan van ike was here" -possibly artist in mirror -marriage is being witnessed and observed by artist painting the picture -artist serves as witness -both a domestic space and has sacred meaning -shoes are off- sign of humility -dog is sign of faithfulness (fido- fidelity) -devotional charge in the space -emphasis on play of color and light
Giotto, Madonna Enthroned, ca. 1310
-sense of bulk -virgin sitting in architectural throne -framing throne are the angles observing virgin and child -admiring divine presence like we should be doing -attempting to show physical presence -subtle range of tone -incredible attention to wings -gold background
Sofonisba Anguissola, Portrait of the Artist's Sisters and Brother, ca.1555
-Anguissola was the leading woman artist of her time. Her contemporaries admired her use of relaxed poses and expressions in intimate and informal group portraits such as this one of her family. -Anguissola's use of relaxed poses and expressions, her sympathetic personal presentation, and her graceful treatment of the forms brought her international acclaim -introduced a new kind of group portrait of irresistible charm, characterized by an informal intimacy and by subjects that are often moving, conversing, or engaged in activities -Anguissola placed her two sisters and brother in an affectionate pose meant not for official display but for private showing.
Matthias Grunewald, The Isenheim Altarpiece, ca.1512-1515
-Befitting its setting in a monastic hospital, Matthias Grünewald's Isenheim Altarpiece includes painted panels depicting suffering and disease but also miraculous healing, hope, and salvation. -reflecting Catholic beliefs and incorporating several references to Catholic doctrines, such as the lamb (symbol of the son of God), whose wound spurts blood into a chalice in the Crucifixion (Fig. 23-2, top) on the exterior of the altarpiece.
Gianlorenzo Bernini, Baldacchino, 1624-33, St. Peter's, Vatican, Rome
-Bernini's baldacchino serves both functional and symbolic purposes. It marks Saint Peter's tomb and the high altar, and it visually bridges the marble floor and the lofty vaults and dome above. -On a symbolic level, the baldacchino's decorative elements speak to the power of the Catholic Church and of Pope Urban VIII. Partially fluted and wreathed with vines, the structure's four spiral columns are Baroque versions of the comparable columns of the ancient baldacchino over the same spot in Old Saint Peter's, thereby invoking the past to reinforce the primacy of the Church of Rome in the 17th century.
Francesco Borromini, façade of San Carlo alle Quattro Fontane, 1638-1641, Rome
-Borromini rejected the notion that a church should have a flat frontispiece. He set San Carlo's facade in undulating motion, creating a dynamic counterpoint of concave and convex elements. - he set the building's front in undulating motion
Christoforo Foppa Caradossa, medal showing Bramante's design for the new St. Peter's, 1506
-Bramante's unexecuted 1506 design for Saint Peter's called for a large dome over the crossing, smaller domes over the subsidiary chapels, and a boldly sculptural treatment of the walls and piers -During Bramante's lifetime, construction of Saint Peter's did not advance beyond the erection of the crossing piers and the lower choir walls. -work was eventually passed to Michelangelo -Michelangelo shared Bramante's conviction that a central plan was the ideal form for a church -Michaelangelo reasoned that buildings should follow the form of the human body. This meant organizing their units symmetrically around a central axis, as the arms relate to the body or the eyes to the nose
Juan de Herrera and Juan Bautista de Toledo, El Escorial, near Madrid, Spain, 1563-84
-Conceived by Charles V and built by Philip II, El Escorial is a royal mausoleum, church, monastery, and palace in one. The complex is classical in style, with severely plain walls and massive towers. -The result is a classicism of Doric severity, ultimately derived from Italian architecture and with the grandeur of Saint Peter's
Bramante, Tempietto, begun 1502, San Pietro in Montorio, Rome
-Contemporaries celebrated Bramante as the first architect to revive the classical style. Roman temples inspired his "little temple," but Bramante combined the classical parts in new ways. -overlooking the Vatican -King Ferdinand and Queen Isabella of Spain commissioned the Tempietto to mark what they believed was the spot of Saint Peter's crucifixion -raton design and features a circular stylobate (stepped temple platform) and Tuscan columns -great balance and harmony between all the parts
Donatello, Feast of Herod, from the baptismal font, 1423-1427, Siena
-Donatello's Feast of Herod marked the introduction of rationalized perspective space in Renaissance relief sculpture. Two arched courtyards of diminishing size open the space of the action into the distance. -episode in the life of John the Baptist -Salome dances before King Herod -Salome's wish is granted and the kneeling executioner delivers John's severed head to the King -other figures are horrified (including Herod) -instead of atmospheric perspective, he employed the new mathematically based science of linear perspective, in which the size of the piers and arches and even the bricks in the walls as well as the figures in the courtyards decrease in size systematically with increasing distance from the viewer
Albrecht Dürer, The Fall of Man (Adam and Eve), 1504
-Dürer was the first Northern Renaissance artist to achieve international celebrity. Fall of Man, with two figures based on ancient statues, reflects his studies of the Vitruvian theory of human proportions.
El Greco, The Burial of Count Orgaz, 1586
-El Greco's art is a blend of Byzantine and Italian Mannerist elements. His intense emotional content captured the fervor of Spanish Catholicism, and his dramatic use of light foreshadowed the Baroque style. -El Greco based the painting on the legend of the count of Orgaz, who had died some three centuries before and who had been a great benefactor of Santo Tomé
Giulio Romano, interior courtyard façade of the Palazzo del Tè, Mantua, 1525-35
-Federico Gonzaga was greatly pleased by Giulio's Mannerist divergences from architectural convention in the Palazzo del Tè. The design constitutes a parody of Bramante's classical style. -very unorthodox approach -formulated almost the entire architectural vocabulary of Mannerism. -In a building laden with structural surprises and contradictions, the courtyard is the most unconventional of all -the keystones seem to be slipping from the arches -he placed voussoirs in the pediments over the rectangular niches, where no arches exist -massive tuscan columns carry narrow architraves -the architraves break midway between the columns and seem unable to support the weight of the triglyphs -very witty of Giulio -cultivated taste -knows how to break the rules
Gentile da Fabriano, Adoration of the Magi, altarpiece from Santa Trinità, Florence, 1423
-Gentile was the leading Florentine painter working in the International Gothic style. He successfully blended naturalistic details with late medieval splendor in color, costume, and framing ornamentation.
Pieter Bruegel the Elder, Hunters in the Snow, 1565
-His Hunters in the Snow is one of a series of paintings depicting seasonal changes and the activities associated with them, as in traditional Books of Hours.
Sandro Botticelli, Primavera, ca.1482
-In Botticelli's lyrical painting celebrating love in springtime, the blue, ice-cold Zephyrus, the west wind, carries off and marries the nymph Chloris, whom he transforms into Flora, goddess of spring. -The sensuality of the representation, the appearance of Venus in springtime, and the abduction and marriage of Chloris all suggest that the occasion for the painting was young Lorenzo's wedding to Semiramide d'Appiani in May 1482. -painting also sums up the Neo-Platonists' view that earthly love is compatible with Christian theology. -served to urge the newlyweds to seek God through love -Botticelli's paintings stand apart from those of the many other Quattrocento artists who sought to comprehend humanity and the natural world through a rational, empirical order.
Andrea del Verrocchio, Bartolommeo Colleoni, ca.1481-1495, Campo dei Santi Giovanni e Paolo, Venice
-the equestrian monument is known from antiquity and is revived during this time period -some presence in military -paid or hired to fight -had little heroic reputation -ended up making a lot of money and getting statues of themselves basically -gattamellata= nickname of honey cat Compared to DONATELLO, Gattamelata (equestrian statue of Erasmo da Narni), Piazza del Santo, Padua, Italy, ca. 1445-1450. Bronze, 12 2 high: -much more a commemoration of someone who left this earth -stiff as though he had already died -use of ball underneath the hoof -meant to convey that this person died
Hieronymous Bosch, triptych of the Garden of Earthly Delights, 1505-10
-tryptic -supposed to be altar piece -figures that are part person, part strawberry -strange vegetal shapes -intensity of color -connecting to larger tradition of religious art -the point of this picture is the point that we have a representation of when christ is not here -craziness occurs -adam and eve joined by god -representation of hell on right -interest in naturalism and detail and color- continuity between centuries
Rembrandt van Rijn, Self-Portrait, ca.1659-60
-usually shows himself as super wealthy when going through bacnkrupcy -sometimes shown as the perfect artist (perfect artists can draw 3 circles perfectly) -almost like a low relief the way he paints -goes in and out
Jacques Callot, Hanging Tree, from the Large Miseries of War series, 1629-1633
France vs northern europe mass execuion of people thought of as thieves -figures being hung and recieving last right from priest on ladder leaves and bodies
Lucas Cranach the Elder, Law and Gospel, ca. 1530
Lucas Cranach was a close friend of Martin Luther, whose Ninety-five Theses launched the Protestant Reformation in 1517. This woodcut contrasts Catholic and Protestant views of how to achieve salvation. -Lucas Cranach the Elder gave visual expression to the doctrinal differences between Protestantism and Catholicism. Cranach contrasted Catholicism (based on Old Testament law, according to Luther) and Protestantism (based on the Gospel belief in God's grace) in two images separated by a centrally placed tree that has leafy branches only on the Protestant side.
Michelangelo, Creation of Adam, ceiling of the Sistine Chapel, 1511-12
Sistine Chapel: -Sidewalls and part of ceiling had actually already been painted -He paints beautiful ceiling part -Everything is painting even though is all looks like architecture -Chapel is still used today for election of new popes -Release black and white smoke -separation of light and darkness -creation of universe Creation of Adam: -Sculptor has become the painter -Follows initial scenes of creation of son and moon and animals etc -Fresco -Tempura paint on wet plaster -adam is shown nude reaching out with some laziness that will get animating spark from god the father -Drapery holds within it angels and possibly figure of eve -teribilita of god -Salt and pepper masterpiece of bear and hair -Space between figures is what leads to anticipation of what will happen -With the touch the body made of the earth (adam) will become animated -restoreres didn't know what was original to fresco and what wasn't -All the candles built up wax and grime on fescoes soon after he finished so restoration began even in 1600s -Stale bread and water -May have gone too far with restoration -Michelangelo was a complainer -Paint dripping on him, back changing form -All in his poetry
Masaccio, Tribute Money, ca.1424-1427, Brancacci Chapel, Santa Maria del Carmine, Florence
Tribute Money - brings together innovations in 15th century painting --- work influenced other artists - Linear perspective - Aerial perspective - Classical body types (blend of realism with idealizing the human form) - Chiaroscuro to create a more realistic picture, single light source from the right, modeling the human anatomy to give figures weight - Balanced, symmetrical composition
Frans Hals, Archers of St. Hadrian, ca.1633
1 -new type of portrait -group portrait! -very reflective of 17th century dutch art -much of dutch society is divided into interest groups -participation within larger social core -dare of execution and artists signature
Rembrandt van Rijn, Anatomy Lesson of Dr. Tulp, 1632
3 -cadaver is shown in foreshortening -unlike other dutch group portraits rembrandt is not interested in spreading figures evenly throughout composition -he stacks figure all on left so one can see their reactions next to each other -rembrandt signs and dates charter -re-created many times even today
Jacob van Ruisdael, View of Haarlem from the Dunes at Overveen, ca.1670
development of landscape painting -both a landscspe and skyscape -view of harlem -figures stretching linen -reposession of countru sise
Louis Le Nain, Family of Country People, ca.1640
representation of a peasant class -shows them in domestic space rugged faces meant to be seen in dffierent conflicting ways we are seeing diversification of subject matter and potential for art to raise consiousness for groups who are isolated bring attention to abuses in society and politics
Judith Leyster, Self-Portrait, ca.1630
she shows herself as amused pleasant artists who is taking break of artwork -all very joyous -shown dressed up -alligns her with a social class -wants to be see asa sjccfil artisy
Donatello, David, ca. 1440-1460, from the Palazzo Medici, Florence
the human body is showing david as the hero who slayed goliath -he seems verry remininl -beautifuklypolisi -contraposto pose -right bearing leg -questioning why it looks the way it does -hat emphasoizes feminity of boy along with the boots -portraying another part of David's identity -subject of love poetry -body can be used to convey different emotions Compared to ANDREA DEL VERROCCHIO, David, ca. 1465-1470. Bronze, 4 1 1/2 high: -probably commisioned by same person -metichi family -shows david as kind of a teenage boy -energy and wireness -youth who undertakes beheading of goliath
Lorenzo Ghiberti, Sacrifice of Isaac, competition panel for the east doors of the Baptistery of Florence, 1401-2
-ghiberti wins -is able to do it in one piece -filippos are placed and there is not as much a sense of unification -rocky outcropping -the father and son look at eachother in ghiberti's -more of an enegerized composition -angel of god rushing out, popping out of relief saying "we believe you! you dont have to kill your son!" -really really complicated bronze sculptures
Carlo Maderno, Santa Susanna, Rome, 1597-1603
-Santa Susanna's facade is one of the earliest manifestations of the Baroque spirit. The rhythm of the columns and pilasters mounts dramatically toward the emphatically stressed vertical axis. -The elimination of an arch framing the pediment over the doorway further enhances the design's vertical thrust. The rhythm of Santa Susanna's vigorously projecting columns and pilasters mounts dramatically toward the emphatically stressed central axis. The recessed niches, which contain statues and create pockets of shadow, heighten the sculptural effect.
Bonaventura Berlinghieri, panel from the St. Francis Altarpiece, 1235
-Similar changes in devotional practices—an emphasis on intuition and emotion and a de- emphasis on dogma -We can see how church art accommodates and reflects these changes -influential for these devotional changes were the writings of St. Francis of Assasi -located knowledge of divine in intuition rather than reason and church dogma -responsible for shifting the tone in the church -manifested in artworks themselves -single panel of wood with gabled top -frontal figure surrounded by scenes from his life -not continuous narrative- instead little bits and pieces -surrounded by angels -humanized with stories from his life -not yet stylistic changes though that show humanity -dark shadows -manyetta grecca- greek manner -incorporation of techniques from byzantine painting into Italian art -using black patches to show indentations -technique increases sense of holiness of figure and humanism -influences way icons were painted -incorporation of byzantine techniques
Gianlorenzo Bernini, Piazza of St. Peter's, 1656-1667, Vatican, Rome
-The dramatic gesture of embrace that Bernini's colonnade makes as worshipers enter Saint Peter's piazza symbolizes the welcome the Catholic Church wished to extend during the Counter-Reformation. -arms of the church -urban space -crowd control -bernini develops these "arms of the church" -his job is to define space in front of church -he has to work within urban space because it is a neighborhood once he starts to work -creates a very sculptural environment -flat frieze
Filippo Brunelleschi, dome of Florence Cathedral, 1420-36
-addition to duomo -solution for dome is symbol of renaissance period -signal of renaissance artists being able to surpass ancient artists -Symbolism of the monument transcends the Renaissance period (movies) -very similar in the use of materials to Duomo -not a celebration of ancient architecture -brunelleschi studied buildings like the pantheon -he is actually trained as a gold smith-not architect -the best way to build dome without using timber/cross overs is to build one ring at a time -he also studied gothic cathedrals -pointed can carry more weight than a rounded one -he rotated the point 360 degrees to basically make the dome -inside is not the same shape as outside -double shell ribs -channel some of the weight -difficult for artists to gain historical perspective on the appearance and period style of ancient architecture
Cimabue, Madonna Enthroned with Angels and Prophets, ca. 1280-90
-altar is now front and center in front of priest -reinforcing idea that altarpieces are conservative -dedication to mary an child -suddel recognition -gradation in tone from light to dark to light -humanizing element -virgin and child look at us -one can quickly connect with it at front -throne of heaven isolates virgin and child from angles -4 doctors are shown with their writings
Rogier van der Weyden, Deposition, ca.1435-1442
-artists attempting to show continuity with previous artists like jan van -painted version of a sculpted shrine -10 figures compressed in shrine -tracery shown on corners is similar to what we would see on churches -included bold pops of color -intense changing gray -simulation of brocade fabric -highlights the imitation of christ -the virgin is shown swooning at death of her son Compared to Giotto Lamentation: -difference -increased sense of emotion -not as much of a reliance on gesture to show story -fresco vs oil painting -using painting to replicate established traditions like the sculpted shrine
Giotto, Lamentation, ca. 1305, Arena Chapel
-effort to show physical body -mourning death of christ -magdalene is shown mourning touching him -organizing pictorial space in a way that is legible -diagonal draws eye down to mother and child -angels are also expressing grief -pulling hair, covering eyes -something new "Giotto, who is not only by virtue of his great fame to be compared with ancient painters, but is even to be preferred to them for skill and talent, restored painting to its former worth and great reputation. For images formed by his brush...seem to the beholder to live and breathe; and his pictures appear to perform actions and movements so exactly as to seem from a little way off actually speaking, weeping, rejoicing, and doing other things...Besides having a full knowledge of history, he showed himself so far a rival of poetry that keen judges consider he painted what most poets represented in words." Filippo Villani, History of Florence, 1381
Robert Campin, Merode Altarpiece, ca.1425-8
-emphasis on small -interest in relating episodes from devotional life to the everyday -showing figures in everyday life -humanizing religion -rise of individual patronage -triptic (more than 3- poliptic) -site your prayer to it -develop person relationship with it -shown in a domestic space -donars are shown on left (earhtly) -middle figures are elevated -joseph on right - make a mouse trap to catch the devil -the virgin is shown reading -she doesn't expect presence -room is overifll with gabriel in it -transforms everything in the space to something that is sacred and ordinary -these objects belong in a house -ordinary space in which one can have an ordinary domestic space -everything changes when gabriel says she will have christ -christ's life will also be snuffed out like the candle -fire screen is against devil -resurfacing of decoration and detail on objects -use of oil paint -oil paint transforms object and makes it look like it can shine from within
Filippo Brunelleschi, Sacrifice of Isaac, competition panel for the east doors of the Baptistery of Florence, 1401-2
-ghiberti wins -is able to do it in one piece -filippos are placed and there is not as much a sense of unification -rocky outcropping -the father and son look at eachother in ghiberti's -more of an enegerized composition -angel of god rushing out, popping out of relief saying "we believe you! you dont have to kill your son!" -really really complicated bronze sculptures
Andrea Mantegna, ceiling of the Camera degli Sposi, 1465-74,Palazzo Ducale, Mantua
-influence of private patronage -citation from ancient text -joy and playfulness -state negotiations would take place in room -painted oculus -little chubby babies -they could let lemon tree go if they want -they are controlling our fate -conveyed through use of perspective -dramatic angle
Jan van Eyck, Man in a Red Turban, 1433
-interest in representing human face -painted portrait -use of oil paint to show intensity of expression -wealthy individuals commission artworks -incredible motion of red turban -beautiful in layers of detail -shows how fabric behaves with light and shadow -gaze of seated figure -direct gaze towards viewer -emphasis of whiteness of face in contrast to black background -uses oil paint on wood with a series of glazes -sense of connection with viewer -effort to bring back portraiture in northern AND Italian art -transcends both -objects are meant to make you connect to them and think about person who isn't there -celebration of the individual spirit compared to Portrait of a Lady by Rogier Van Der Weyden: -student of jan van eyck -emphasis on face -darkness of clothes emphasize face -jewelry showing connection to family as if she is property -flatness of features -diluting her individuality rather than focusing it like turban -developments of female portraiture has a kind of lag when interpreting new traditions -lag of 50 years -making them artificial presences -not connecting with viewer Discussion: jan van eyck- red turban guy -at top of frame is says - as best I can -at bottom- his name, i made it "date he made it"" -jan van eyck was so so so good -glow on his face -rich highlights and shadows -dark blacks to lighter yellow skin tone -linseed oil usually and pigment
Simone Martini, Annunciation, 1333
-internation style -french motifs -giotto there is a sense of bulk -martini has elegance of draperies and gestures in figures -thin lines -sense of lightness -christ-combo of divine and human -altarpieces are now expanding to incorporate more complicated stories -representation of physical space -conveyed with multi-patterned marble pavement
Claus Sluter, Well of Moses, 1396-1406, Chartreuse de Champmol, Dijon, France
-patronage -reflect back on nature of that ruler -the well of moses -reflection of benevolence of ruling family -originally painted -salvation is guaranteed from death of christ -rise of wealth/patronage -make sculpture seem more animated than it had been -be more present within the space -despite all the folds there is a still a sense of his presence in his body -liberate figure from architectural background
Limbourg Brothers, October from Les Très Riches Heures du Duc de Berry, 1413-16
-poor peasants working for wealthy individuals -representation of scenes -shown in smaller scale -astrological symbols
Rembrandt van Rijn, The Company of Captain Frans Banning Cocq (Night Watch), 1642
group portrait 4 militia preparing for parade -presenting it like it is a narrative picture -was questioned as to whether it was group portrait or not pushing boundaries -illuminated girl is possibly allegorical figure of some kind -she is a focal point and giving us sense of progression from right to left
Donatello, St. Mark, 1411-13, Or San Michele, Florence
guild of the linen workers commisioned the source -maddona in the clouds at mfa -drapery tells us shape of whats iunderneath -flows at bends in the lef -optical distortion -you correct it when you i -recalls ancient statuary -drapery cuts in the marble -representation of donatello st mark varies -compared to moses well
Jan Vermeer, Woman Holding a Balance, ca.1664
he understands that shadows and highlight are not just black and white -very aware of colors
Gerrit van Honthorst, Supper Party, 1620
light and dark are not used to reveal divine -primarily meant to be a pleasure picture -the presence of older next to younger makes one think it is an allegory -prostitute? -picture for a domestic space -whether people being amused at dinner party or about prostitute -story doesn't matter tho -important because artists like this are executing paintings without being told to by a patron and being told what to paint -appeals to growing and wealthy middle class
Masaccio, Holy Trinity, ca.1421-1427, Santa Maria Novella, Florence
mary and john are on either side -nitched space rise of wealthy -spacial impact on us -standing before it in church space -perspective becomes a creative tool -sense of illusion
Pieter Claesz, Vanitas Still Life, 1630s
transience through these objects -walnut cracking -violin only makes music when playing only work when using themt
Nicolas Poussin, Et in Arcadia Ego, ca.1655
very reflective of french 17th century painting
