ARH132 Unit 1
Madonna w/ Long Neck
-aesthetic: consciously stylized -figures: elegant •attenuated & tapered forms •porcelain-like surfaces of skin -scale: altered (large vs. miniscule) -composition: stable arrangement of Madonna along CVA •balanced by strong vertical of column •imbalanced by grouping on left -spatial order: tension between compressed grouping of figures on left versus sliver of sky overlapping -perspective: linear & aerial •illusionistic tricks random decontextualized column opposite of pieta
Last Supper (Tintoretto)
-aesthetic: rationality abandoned for mysteriousness -narrative: protagonist lost among multiple figures nor placed along CVA -spatial order: dramatically extended -figures: size inverted to importance •opposite of hierarchical scale -composition: dynamic -color: muted -light: supernatural •dark, windowless •sources, instead, come from candles, chandelier & halos •chiaroscuro linear perspective only -Spatial order: •stretched
Martyrdom of St. Sebastian
-aesthetic: realist -figures: geometric; analytical -composition: dynamic •figures aligned diagonally •narrative carried along by gaze & gesture •re: Caravaggio's Entombment -color: muted tonalities -light/shadow: "conte jour" shallow composition
Mary Magdalen - Georges de La Tour
-aesthetic: realist tendency -theme: penance & "vanitas" -iconography: "memento mori" •skull as reminder of death -setting: simplified (see Council of Trent/Caravaggio) -figure: geometric simplicity •compare to Early Renaissance -composition: dynamic diagonal thrust -color: muted; narrow range of browns chiaroscuro, tenebrism -light/shadow: dramatic •"contre jour" (silhouette from light source) -variation of Caravaggio's use of "tenebrism" -figure in front of light source (i.e., candle) -silhouette effect • DIFFERENT PICTURE IN REVIEW
Merode Altarpiece
-central panel: iconography •"hidden" symbols -treated as normal part of scene -religious meanings widely understood idealized, but a bit schematic mary and angel attempting wet drapery, but schematic pleats chiaroscuro •OT -prayer shawl -glazed earthenware w/ Hebrew writing •NT -lillies > viginity -snuffed out candle > Immaculate Conception -wind-blown pages > Holy Spirit •skewed linear perspective -right panel: "Joseph" • attempt of realism in beard •perspective: -linear »receding lines indicate depth -aerial »view into deep space •iconography: "hidden" -mousetraps -drain board for wine > Eucharist -left panel: •figures: patrons -kneeling, gesturing w/ piety -self-portrait versus OT prophet (?) -facial features show realism •iconography -red-rose bush > »Virgin & the Passion •Perspective -linear -atmospheric
Galatea
-composition: •dynamic > movement & gestures •stabilized -principal narrative figure placed along CVA -implicit triangular format à angels above -color: vibrant/localized red cloak complimented by aqua green -figures: idealized -poses: dynamic •moves beyond "contrapposto" in Botticelli's Birth of Venus -perspective: •linear > established by human figures' movement rather than architecture -overlapping -foreshortening •aerial view into deep space
Pastoral Symphony
-composition: dynamic -color: vibrant complementary green and red -light/shadow: golden -setting: idyllic -perspective: realistic aerial linear water well -figures: allegorical -subject: delight in senses •hearing à music •taste à water -relate to Humanist interest in overlaying OT theme •veiled reference to NT à Jesus as Good Shepherd -right middle ground -temperance idealized and realistic figures chiaroscuro venetian format •vignette in the right middle ground > veiled reference to NT jesus of good shepard Pose of woman looks like Leonardos High Ren Leda and the Swan
The Tempest
-composition: stable -color: vibrant -light/shadow: even -poses: contrapposto -perspective: •linear > architecture •aerial •more realistic storm -shows atmosphere realistically -atmospheric effects -lightning -narrative: vague •soldier •mother & child colore zig zag arrangement, dynamic bridge implicit horizon line chiaroscuro realistic renderings religious but in contemporary city •maybe holy family? gables •wall humanism •man looks like Doryphoros •woman looks like madonna litta leonardo high ren
Isenheim Altarpiece
-context: painted before Luther nailed theses to door of Wittenberg Cathedral in 1517 -patronage: hospital dealing w/diseases of human skin -scale: monumental -aesthetic: emotional intensity and terrible realism -color scheme: dark (exterior) vs. high- keyed (interior) -light/shadow: "chiaroscuro" -program: complex •one set of fixed wings; two sets of movable ones •one set of small wings for "predella" (supporting platform) Crucifixion grotesque dark sky hierarchical scale
Madonna of the House of Pesaro
-date: c. 1525 -subject: commemorates naval victory of Venetians against Turkey -composition: combines stable with dynamic •base of throne rotated -breaks symmetry -creates diagonal -implicit triangular format -gazes, line of sight, creates diagonals -color: vibrant primaries -light/shadow: •evenly distributed •display natural effects on surfaces chiaroscuro bifurcated linear and aerial holy family usually in CVA but they are off to the right
Arrival of Marie de' Medici
-date: c. 1625 -subject: history painting •Henry IV (King of FR) first wife barren •obtained permission from Pope to divorce •de'Medici chosen -financial reasons -political convenience -narrative: moment of recognition -three implicit registered zones -baroque - in process -aesthetic: combines Caravaggio's realism w/ Carracci's idealization -composition: dynamic -color: vibrant -light/shadow: dramatic chiaroscuro effects CVA, vertical form in mast of ship Humanist figures •sea nymphs •poseidon -figures: idealized •curvaceous & supple •males: powerful musculature (re: Michelangelo) -poses: three views (frontal, ¾, rear) -issue: royal propaganda •R glossed over truth (re: likeness) in favor of royal patron -contrapposto -improved facial features -ruddy complexion -surface texture: •sheen of satin gowns •lace Titian's Venetian Renaissance Assumption of the Virgin •three tiers Peruginos italisn early ren delivery of the key michaelangleo high ren expulsion from paradise
Sistine Chapel
-decorative program: architectural framework painted ("faux") •spandrels > curved triangles -painted to look as if there is dividers •ribbed vaulting -program: •nine (9) OT > ceiling •Last Judgment (NT) > east wall Spine - organized story from west to east in a sort of register style Light and shadow replicate texture of stone
Adam and Eve
-figures: idealized •Vitruvian proportions •compare to Apollo Belvedere •compare to Venus de Milo based on humanist antiquities -pose: contrapposto -composition: bilateral symmetry -light/shadow: chiaroscuro one arm a tad elongated -perspective: aerial (upper right) -background: flora & fauna •flora > naturalistic •fauna > symbolic (Temperaments) -cat à choleric -elk à melancholic -rabbit à sanguine -ox à phlegmatic referencing Apollo Belvedere late classical greek could reference venus de milo hellenistic greek
Pope Leo X
-figures: realistic •unflattering physical features •does not falsify sitters' personality -composition: synthetic •principal figure placed along CVA •dynamic diagonals & lines of sight/gazes -color: vibrant, rich textures -light/shadow: variation of "chiaroscuro"
View of Toledo
-format: recalls Giorgione's Tempest •sky/clouds •river bisecting townscape -perspective: transforms/rearranges topographic details •spires of Gothic cathedral •slope to river steeper •palace moved from edge of city to center atmospheric and linear perspective schematic clouds vibrant/fluorescent colors -light/shadow: ambiguous & imaginative
Parmigianino Self Portrait
-format: tondo -process: convex mirror •Leonardo warned against false mirror effects -spatial order/perspective: •consciously inventive •distorts form & space •extreme foreshortening -composition: stable -color: muted -light/shadow: modified chiaroscuro
The Battle of Issus
-function: commemorative •commencement of military campaign against invading Turks -subject: defeat of Darius by Alexander the Great •announced by inscription -setting: landscape •Humanist approach -topography from maps -battle narratives -perspective: bird's eye view -iconography: cosmological •sun (Apollo) à victory •moon à crescent shape (symbol of Islam) floating inscription -very roman rising sun -apollo crescent moon -islam aerial perspective soldiers overlapping vibrant
Cornaro Chapel
-function: funerary -dedicated: Saint Teresa •mystic of Spanish Counter-Reformation •1st Carmelite nun to be canonized religious topic with humanist representation -aesthetic influence: Humanism -materials: multimedia •marble panels •painted ceiling •gilded bronze •sculpture portraits -lighting: windows, both hidden & apparent
Charles V
-genre: equestrian statue (Humanist) -subject: ardent Catholic •most powerful ruler in Europe -composition: dynamic •dramatically mounted on stallion •horse rearing back •spear pointed diagonally •framed asymmetrically at left by grove of trees •implicit diagonal with plume of helmet -color: vibrant •glazing & gold inlays •decorativeness -light/shadow: golden aspect -perspective: •aerial > view into deep space, painterly brushwork Roman High Empire Equestrian Stature of Marcus Aurelius
Apollo and Daphne
-intellectual context: frustrated desire and enduring despair and pain, provoked by love -meaning: personal, special resonance for SB, who was widely ridiculed for his attraction to other men -narrative moment: transformative •A reaching out toward river nymph D, just as she is transformed into laurel tree by her father •prevent D from being burned by touch of god of sun -figural type: androgynous male (see Hellenistic Greek) humanistic negative space dynamic composition undercutting idealized figures Reference: Late Classical Greek Apollo Belvedere
David - Donatello
-material: bronze lost wax method -style: decorative -narrative: biblical allegory •civic virtues triumphing over brutality and irrationality •biblical text -temporal > after-the-fact »triumphantly holds G's sword -figure > portrays youthful "shepherd boy" -symbolic > unblemished spiritual perfection -Idealism -figure: nakedness •first surviving freestanding nude since Antiquity -e.g., Spear Bearer •pose: "contrapposto" •erotic > hat & footware
St. Mark the Evangelist
-material: marble -scale: over life-size (7'9") -style: Classical -facial features: stoic & veristic, Realism -bags under eyes -hollowed cheeks -pose: "contrapposto" -drapery: "wet" •clings to upper torso •falls straight over "engaged" leg •irregular on "free" leg's push forward •undercutting -creates sense of decorativeness »beard ringlets »short cropped hair
Knight, Death & the Devil
-medium: engraving •textures & tonal values masterfully rendered •matches flexibility of etching (developed later in 16C) soldier on CVA Dynamic diagonals of spear and sword -setting: foreboding landscape -narrative: NT (Ephesians 6:11) strict profile -figures: •Christian knight > idealized musculature •Death > grotesque •Devil > fantastic -iconography: •dog à fidelity •snakes à sin •hourglass à mortality classical humanist marcus aurelius early roman empire
Mary Magdalen
-medium: wood -style: expressive -pose: "contrapposto" -narrative: •beautiful harlot •became hermit upon conversion Christian •committed acts of mortification •allowed hair to grow for protection -face: Realism •wrinkled skin •sunken cheeks -gestures: contemplative •clasped hands •tilted head -meaning: meditative •inevitability of aging & death -rough handling of surface texture -creates emotion, something visceral -undercutting •shadows
Assumption of the Virgin (coreggio)
-narrative: •V à lofted upward by vortex of singing musical angel •Apostles à standing around tomb, ringing base of dome •Blessed à Adam and Eve, Judith •Jesus à placed at center of dome -foreshortened -beardless -descending to meet mother -perspective: principal means of Mannerist distortion -prototype: Mantegna's -overlapping -deliberate
Entombment
-narrative: deliberate ambiguity -aesthetic: defies numerous High Renaissance ideals -figures: •unnatural proportions •elongated torsos -perspective: defies rational identification of planes •depth communicated only by -overlapping -foreshortening -singular cloud -spatial order: compressed -composition: no central motif along CVA •effect > disperses psychological impact -color: unnatural shades of pastels -light/shadow: even distribution same narrative as raphaels deposition
Raising of the Cross
-patron: Antwerp Cathedral -narrative: immediacy; moment of doubt -perspective: overlapping/foreshortening & aerial -composition: dynamic -color: vibrant, localized primaries -light/shadow: chiaroscuro & modified tenebrism spotlight effect emphasizes torso idealized shallow space, very close to audience hints of mannerism in twisting of torso -figures: solid, sculptural •musculature derived from Michelangelo •dramatic, twisting, contorted poses -observation of reality •no trace of Mannerism •study from live models last judgement michaelangelo high ren Caravaggio's Italian Baroque Entombment Caravaggio's Italian Baroque Supper at Emmaus
David - Bernini
-patron: Cardinal Scipione Borgheses •commissioned to decorate Galleria Borghese at private villa -style: "dynamic" tendencies -influences: Hellenistic Greek -Baroque qualities: •spatial order: active vs. self-contained •realism of detail & differentiation of texture •during the moment •drapery: abstract play of folds & crevasses •attempting pictorial effects traditionally outside sculpture's domain athletic pose physical maturity breaks with old testament representation of adolescent expressionism humanism Classical Greek Discus Thrower DONATELLO's Italian Early Ren. David MICHELANGELO's Italian High Ren David
Burial of Count Orgaz
-patron: El G's own parish church -subject: 14C legend •Toledan nobleman who acquired renown as religious donor •in 1586, parish priest initiated project to refurbish count's burial chapel -narrative: dislocations of time & space •presented as contemporary event -composition: two zones •earthly à funeral •heavenly à top -color: Venetian •colore? -light/shadow: otherworldly chiaroscuro -decorativeness: relate to Mannerist portraits -heavenly zone: •angel holding soul of dead Count •soul passes between intercessors Jesus' scale is very small •mannered perspective -Mary & John the Baptist •Christ à gestures w/ right arm center: angel as a transition, lifting the soul musculature: bulging, agitated -receives soul into heavenly glory pose: leaned back legs at 90º angle decorative patternization •Titian Venus of Urbino in essence, a last judgement scene based on michaelangelos sistine chapel pieta michaelangelo
Jupiter and Io
-patron: Federico Gonzaga, 1st Duke of Mantua •intended to line room in palace w/ Loves of Jupiter à mythical ancestor of Gonzaga family -subject matter: Humanist •Book 1 of Ovid's Metamorphoses •divine love subjected to Christian interpretation (Psalms) -lower right, stag drinking from brook à "As deer pants after water brook, so my soul thirsts for thee" -narrative tone: erotic •Io invited by Jupiter, at night, in dream, to lie w/ him in meadows •J à camouflaged w/in blackish cloud of constantly changing forms -face and hand can be seen within -undergoes metamorphoses to conceal their loving from indiscreet gaze illusion of face in the clouds foreshortening chiaroscuro
Wedding Portrait
-patron: Giovanni Arnolfini •prosperous Italian banker •settled in Bruges -setting: domestic -composition: bilateral symmetry -color: complimentary -light/shadow: directed -perspective: linear/tilted -floorboard, wall angles, window tilted -Quality of Naturalism: Realism, hints of Idealism -iconography: "hidden" •emblems of wealth, piety & married life -rosary beads -St. Margaret -candle -fruit -dog -convex mirror
Resurrection from Isenheim Altarpiece
-position: interior wing -subject matter: NT -setting: supernatural -figures: wild gestures -composition: dynamic •swirling drapery •diagonal arrangement of forms -color: shocking dissonance -light/shadow: "chiaroscuro" mandorla
Old Rembrandt Self-Portrait
-quality of naturalism: realistic -brushwork: painterliness combined w/ glazing technique -composition: implicit triangular format -color: narrow range w/ vibrant accents -light/shadow: tenebrism & chiaroscuro spotlight -gaze: reveals interior emotions •psychological power -tragic experiences -sorrow -vulnerability
Assumption of the Virgin
-scale: monumental dynamic composition -aesthetic: "colore" tradition -composition: superimposed implicit registers •see Michelangelo's Last Judgment -color: vibrant -light: chiaroscuro effects -gestures: •link composition •convey narrative idealized deities and realistic plebeians aerial linear •limited to foreshortening and overlapping God looks like Creation of Adam from Michaelangelos High Ren
Garden of Earthly Delights
-scale: monumental •center panel > 7' x 6' •complete work: triptych -four paintings on series of folding panels -outer panel > "Creation" •closed position •narrative: Third Day of Creation •context: Age of Exploration -Earth as sphere •theme: Humanist -scientific inquiry combined w/ religious belief •muted color scheme -left interior panel -narrative: Eden -subject: marriage by Christ -theme: domestic harmony -figures: non-Classical •exaggerated , elong -landscape: fantastic vs. naturalistic •hugely detailed -fountain > B profession as hydraulic engineer -exotic animals à Age of Exploration -composition: stable -color: earth tones & pastels, vibrant -light/shadow: evenly distributed -perspective: aerial -not classical -horizon line leads into central panel -interior central panel -narrative: allegorical -subject: Sin -theme: folly •sexual promiscuity •humans' inability to save themselves •alchemy (?) -mood: fantastical •over 1K figures •antecedents in recent Gothic past -composition: top 1/3 symmetrical -color: vibrant & complimentary -light/shadow: evenly distributed -perspective: aerial scale is strange, birds huge overlapping horizon line continues to extend into right panel -interior right panel: -narrative: "Hell" -subject: Last Judgment -theme: sensual pleasures turned into elements of torture -setting: dark world of fire & ice -figures: fantastical •hybrid forms •unnatural unions -composition: dynamic -color: vibrant -light/shadow: chiaroscuro -perspective: aerial @ night grotesque figure crucified on a harp metronome scale of judgement anthropomorphic bird form eating a soul
Venus of Urbino
-setting: interior -composition: dynamic •complex balancing of horizontals, verticals & diagonals -perspective: linear aerial out the window -figure: classical •ideal beauty versus identity •slender, graceful curves -pose: extended lengthy -gaze: engaged w/ viewer reclining female nude idealized naturalism light shadow even distribution color is vibrant and complementary •coordinated red with perspective Georgiones Ven Ren Venus Asleep
Pieta
-significance: first masterpiece -composition: implicit triangular format -figures: idealized •anatomical accuracy •youthful faces -Deviating from the text of the Bible -mood: resignation •stoicism corresponds to Classical Greek examples -texture: sensitive treatment -drapery: sweeping forms emphasize long lines of Christ's figure -light/shadow: undercutting Negative space Humanism Torso 45º legs 90º
Holy Family
-style: classicizing -figures: idealized (see Raphael), clouds too -perspective: linear & aerial -compositions: stable •geometric recession •verticals/horizontals at right angles •implicit triangular format -color: localized areas of primaries -light/shadow: chiaroscuro -iconography: •apple/wisdom/fate •staircase/ascension RAPHAEL's High Renaissance Madonna of the Meadow
David - Michaelangelo
-style: idealized -scale: colossal -meaning: Florentine republic's readiness -narrative: prior to battle -negative space -figure: idealized •heavily muscled & anatomical •age does not conform to biblical text -although, large hand may indicate adolescence -facial features: hair > undercut -facial expression: stoic -pose: "contrapposto" -face: idealized •rotated -rejects dominance of frontal view -communicates intense moment -facial expression: stoic -eyes: pupils "drilled" to create illusion -hair: "undercutting" technique •creates strong contrast between light & shadow
Portrait of a Cardinal
-subject/sitter: scholar & poet who praised El Greco's work -figure: agitated & tense -perspective: mannered linear -spatial order: compressed by back wall -composition: dynamic •chair at oblique angle •gaze sharply averted elongated fingers -color: vibrant -light/shadow: even distribution -decorativeness: light reflects off satin fabric -drapery: metallic decorative patternization
Abduction of Europa
-subject: Humanist •Jupiter's illicit love affair •disguised as bull -figures: idealized; foreshortened -composition: dynamic -color: vibrant & complimentary -light/shadow: chiaroscuro effects -brushwork: "painterly" •sky & clouds merge w/out sharp division -perspective: more realistic aerial wet drapery reclining female quadrants •upper left cupids and aerial perspective •lower right is figure, dynamic
Midas and Bacchus
-subject: Humanistic -figures: Classical Greek prototypes •Bacchus à Apollo Belvedere -composition: Renaissance appropriation •Perugino's Delivery of the Keys •Titian's Bacchanal -color: Venetian warm, golden tonality -light/shadow: Titian's shifting effects -narrative: minimizes actions & facial expressions contropposto stance aerial perspective
Four Apostles
-subject: NT -title: misnomer -theme: support of Lutheranism •secondary role for Peter •John emphasized Christ's humanity (John 1:1) -figures: •left à John & Peter •right à Mark & Paul -aesthetic: realism •faces •Attire •attribute
Peasant Family
-subject: group portrait -theme: "genre" scene (daily life) -meaning: dignity of hardship -figures: peasants •simplicity & seriousness •see Velazquez Water Carrier realism stoicism humanism mention stylistic trait chiaroscuro -composition: stable •frieze-like •seemingly random placement figures •slightly back but take up all the space -color: muted earth tones -light/shadow: "contre jour" -iconography: religious allegory •Eucharist (wine & bread)
Surrender at Breda
-subject: history painting -theme: SP/Catholic triumph/conquest over Dutch (Protestant) -narrative: courtly tone modified from Perugino's Delivery -composition: Classical frieze-like arrangement -figures: densely packed, overlapped -landscape: panoramic -brushwork: "painterly" -color: vibrant -light: evenly distributed -perspective: aerial Adopted from carracci Caravaggio conversion of st paul UCCELLO's Italian Early Renaissance Battle of San Romano
Bacchanal
-subject: mythological -tone: relate to Giorgione's Pastoral Symphony -composition: dynamic & rhythmic -color: vibrant -light/shadow: chiaroscuro -figures: foreshortened -perspective •implicit linear > trees •vanishing point •aerial > hazy, bluish forms in deep space (cumulus, cirrus, and stratus) humanist themes idealized figures Bellinis Feast of Gods Ven Ren •more static •hides aerial a lot more
Polyphemus & Galatea
-subject: mythological •P à cyclops •Gà sea nymph -figure: adapted from Greek Classical & Hellenistic sculpture idealized -composition: dynamic -color: vibrant -light/shadow: limited chiaroscuro moment of recognition •Classical > concept of twisting & torque of classical greek Discobolos (discus thrower) upper torso hurling a projectile •Hellenistic > Laocoön -reverses legs -one arm extended down, other up -head tilted
Self Portrait Judith Leyster
-tendency: Carravagio's realism -brushwork: "painterly" -stylistic characteristics: •large figure pressed into foreground •Hals' theatricality -narrative: momentary pause from work -composition: dynamic -color: muted narrow range -light/shadow: modified tenebrism mid speech expressive
Bacchus - Rubens
-theme: Humanistic -figures: idealized & grotesque •full proportions ventures away from Classical antiquity •emphasizes rippling, dimpled flesh •equates fleshiness w/ prosperity -composition: distilled, synthetic •CVA •implicit triangular format •repeating gestures •dynamic diagonals -spatial order: compressed -perspective: minimal use of aerial & linear -color: vibrant Venetian qualities -light/shadow: chiaroscuro modified tenebrism •bleaching effect (see Velazquez) •emphasizes surface texture with light/shadow -e.g., wine decanter tosro in CVA, legs at 45 degree angle colore -painterly brushwork and vibrant colors
Allegory of Lust
-theme: eroticism -narrative: Father Time & Daughter Truth expose incestuous kiss of Venus & son Cupid -spatial order: compressed -style: extremely stylized -figures: •deliberately distorted poses •form subordinated to stylized beauty -exaggerated gestures -porcelain-like flesh idealized
Dying Slave
-theme: mortality -aesthetic: erotic •influence of Hellenism •base > phallic -figure: idealized -facial features: idealized -composition: dynamic tension between curvilinear forms, diagonals, & vertical orientation -pose: Classical "contrapposto" -spatial order: negative Sleeping Satyr pose - hellenistic greek
Rebellious Slave
-theme: mortality -aesthetic: erotic influence of Hellenism -figure: idealized -facial features: idealized -composition: dynamic tension between curvilinear forms, diagonals, & vertical orientation -pose: Classical "contrapposto" -spatial order: negative upraised leg pose Nike adjusting her sandal pose - classical greek Weary Hercules arm- hellenistic greek
The Merry Drinker
-theme: secularized Bacchus -narrative: glance & gesture heightens immediacy -brushwork: painterly -figure: contemporary; realistic -composition: stability coupled w/ implicit dynamism implicit triangular format -color: muted w/ ruddy flesh tones -light: dramatic •implied tenebrism (e.g., broad-rimmed hat) •chiaroscuro effects •surface reflections foreshortening BERNINI's Scipione Borghese middle of speaking
Las Meninas
-title: a.k.a. Las Meninas -genre: royal group portrait -theme: implicit Humanism •comparison to Alexander the Great visiting his painter (Apelles) in studio -narrative: spatial complexities •foreground à daughter, attendants, & court painter •mirror à reveals King Phillip IV & Queen •doorway à chamberlain modified tenebrism baroque because it is in process (getting her ready) linear perspective -self-portrait •painting as endeavor worthy of courtly recognition •pose: frontal •V ordained into royalty -insignia of Royal Order of Santiago (stylized red cross) -did not receive honor of knighthood until 1659 (three years after painting completed) -Princess Margarita •five-year old daughter of Philip IV & second wife •brushwork: painterly (quick, thick, intuitive painting skills) -elaborate dress & jewels -multiplicity of textures -details dissolve into intuitive, chaotic mixture of color
Ghent Altarpiece
-tryptic -wing exteriors: closed -composition: registered •upper register: OT prophets/sibyls •middle register: "Annunciation" -perspective: »aerial > view of city »linear > rafters •lower register -donors -church's patron saints »John Baptist »John the Evangelist -upper register: open •"Adam and Eve" -aesthetic: realism -narrative: after the Fall -setting: niche »isolated from nature -figures: realistic -gazes: introspective -poses: "contrapposto" -light/shadow: models forms to create 3-d -decorativeness: contrast starkness to splendor of angelic musicians
Expulsion
Continuous narrative Tree of knowledge and serpent on CVA Cause and effect Idealized Linear and atmospheric perspective Vibrant colors Dynamic Was not the first to come up with these concepts, but he took early versions and create a riff on it Reference to Massaccios Branccacio Chapel of Expulsion
Expulsion from Paradise
FRom Branacacci Chapel -subject: OT (Adam & Eve) -narrative: assisted by gestures & facial expressions -composition: dynamic •diagonal arrangement of forms & gestures •foreshortening (torso, forearm) •sweeping movement of angel's drapery •compliments strict verticality -color: vibrant -light/shadow: chiaroscuro -figures: solidly modeled; nude -perspective: linear (e.g., gate) & aerial
Calling of St. Matthew
•genre scene: mundane environment (tavern) •setting: ambiguous (indoor vs. outdoor) •perspective: shallow space -figures & forms placed as close as possible to foreground linear perspective on table •composition: dynamic dynamic beam of light •color: muted range of browns & flesh tones -punctuated by primaries that circulate vision through composition •light: chiaroscuro & tenebrism -dark setting envelopes occupants -sharply lit figures •e.g., Christ's gesture highlighted by sharply descending diagonal -dramatic contrast of brightly lit forms placed adjacent to other forms submerged in deep shadow -tenebrism > dark background (wall) •arm gesture > visual citation to M's Creation of Adam in Sistine Chapel •iconography > window jamb serves as visual double for Cross -placed strategically along same vertical axis as JC's hand gesture anachronistic clothing disrupts realism
Vitruvian Man
•medium: ink on paper •theme: Humanism (Vitruvius à Roman architect) •significance: form est. by mathematical proportions & geometric shapes •figure: idealized proportions -man in two superimposed positions w/ arms and legs apart -inscribed in circle and square •light/shadow: dramatic passages •Humanism
Jan van Eyck
•medium: oil -perfected the technique -striking realism in microscopic detail -permits precise, objective description -carefully applied, blended brushstrokes -built up in transparent layers -realism, agedness -chiaroscuro - red turban might reference the international trade of the time
Last Judgment
•mood: somber & turbulent •narrative: NT combined w/ Humanist references (e.g., Charon/Hades) •composition: dynamic commotion -loosely arranged into registers -overlapping -anchored along CVA by placement of divinity •color: vibrant •perspective: aerial Light and shadow Wet Drapery Idealized Grotesque skinning of a man Foreshortening Expressionism Nearly identical to Giottos Gothic Last Judgement - Hell looks different in its composition where Giotto uses beasts and M. uses the boat reference
Madonna of the Rocks
•motif: cave (rock formations) -biography à as youth, discovered a cave; driven by curiosity to find out what inside -Humanism > Plato's Republic "Allegory of the Cave" •figures: idealized quality of naturalism •composition: stable -CVA -implicit triangular format •color: muted •light/shadow: chiaroscuro •perspective: -foreshortening -linear > no explicit use -aerial > view into deep space -vanishing point > shifted to left
Resurrection
•narrative tone: stoic (Classical) •figures: idealized -mathematical proportions -lean musculature •composition: stable -CVA -implicit triangular format -frieze-like arrangement (Classical) •color: pastel & compliments -alternating green and red •light/shadow: even distribution •perspective: -foreshortening -linear > implied (trees) -atmospheric > sky/clouds
Feast of Bacchus
•narrative: Humanist anachronistic -(left) ancient god & cult followers -(right) modern 17C Spanish pueblos -italian early ren delivery of the keys •composition: frieze-like, bilateral -see Carracci's Farnese Gallery •color: muted earth tones & pastel •light/shadow: manipulated -bleached-out Bacchus -eliminates chiaroscuro and tenebrism effects SOME atmospheric •spatial order: shallow •perspective: limited to overlapping and foreshortening -contemporary figures: •realistic, vigorous naturalism -ruddy faces -leathery skin -plain garments •complex gestures, gazes & poses -enlivens narrative, despite frieze-like composition
Mona Lisa
•narrative: commemorates birth of 2nd son •narrative tone: secular vs. religious •motif: head covering •figure: idealized -facial features (eyes, mouth) -hands/fingers •pose: seated, ¾ view (Classical) •composition: stable -central vertical axis -implicit triangular format •color: muted •light/shadow: chiaroscuro •perspective: -foreshortening > arm; shoulder -linear > balcony ledge; winding road -atmospheric (aerial) •vanishing point > shifted to right •Direct gaze •"sfumato" > smoky, hazy effect
Old Man and Grandson
•narrative: emotional qualities beyond traditional portraiture •theme: virtue vs. external appearances •figures: range of qualities of naturalism -old man > realistic & grotesque -child > idealized •composition: dynamic •color: vibrant & muted •light/shadow: even distribution on figures •perspective: combines -linear > architecture (windowsill), winding road & stream emptying into lake -aerial > distant, faint landscape
Lamentation
•quality of naturalism: realistic -enhanced by extreme perspective -"wet" drapery: wet (Classical) •foreshortening -dramatizes recumbent figure -emphasizes anatomical details (thorax/chest) •color: muted •light/shadow: dramatic modeling expressionism linear perspective chiaroscuro lighting
Farnese Gallery
•style: "Classicizing" tendency •patron: Cardinal Farnese (nephew of Pope Paul III) vaulted •program: arranged along spine of vaulted ceiling (see M's Sistine Chapel) -thirteen (13) narrative scenes -stories of love, abduction, and tragedy •format: illusionistic enhancement of architectural space (quadri riportati) •theme: Humanist mythology -see Ovid's Metamorphosis -alludes to poem written by Lorenzo de Medici (c. 1475) -moralizing messages & hidden religious content humanism painted on crown molding
Madonna, St. Ann & Christ Child
•style: "disegno" tradition -technical skill of line & drawing -conception & intention of finished work -"external physical manifestation of an internal intellectual idea or design" (Zuccaro) •composition: centralized wet drapery •light/shadow: "chiaroscuro" -brightly lit areas and really dark areas •strong contrasts between light and shadow •extraordinary sense of sculptural dimensionality •figures: massive
Waterseller of Seville
•style: "realist" tendency (influence of C) •scene: genre -in service of Counter Reformation -iconography à SP mysticism •theme: vow of poverty (Franciscan) •figures: realistic quality of naturalism -age, facial features & clothing -three stages of life: youth, middle age, old age •perspective/spatial order: shallow -close as possible to picture plane -linear > table top -overlapping figures -foreshortening •composition: stable; intelligible -CVA; reduction of figures •color: muted, narrow range •light/shadow: chiaroscuro & tenebrism -surface textures: •reflections •beads of water
Giovanna Tornabuoni
•subject: noblewoman (aristocrat) •theme: wealth, status, and piety •meaning: memorial; died in childbirth •pose: profile •facial features: idealized •color: vibrant •decorativeness: patterns of clothing •light/shadow: near absence of shadow flattens volume •iconography: Humanist & religious -epitaph quotes ancient Roman poet -coral necklace (rosary) & brooch -partly closed prayer book -handkerchief •perspective: limited to linear (windowsill) Similar to Leonardo's La Bella Principessa
Bust of Scipione Borghese
•subject: portraiture •patron: Cardinal Scipione Borghese -maternal uncle elected to papacy as Pope Paul V (1605) •placed SB in charge of internal and external political affairs •entrusted w/ finances of papacy and Borghese family -B's first patron (c. 1618-24); also patron of Caravaggio •composition: dynamic -rotation of the head •narrative moment: mid-speech -in control, propaganda •quality of naturalism: realistic
The Miseries of War
realist tendency theme of war as a current event self motivated, not commissioned in process baroque chiaroscuro this shows how art is going to transform for the next 200 years
Ecstacy of St. Teresa
religious and humanism facial expressions: ecstatic and pleased poses appropriated T: pieta C: apollo belvedere dynamic wet drapery some agitated crisp drapery cloud different texture variety of textures narrative moment: transformative peak baroque, in process slender proportions MICHELANGELO's High Renaissance Pietá hellenistic greek apollo belvedere
Supper at Emmaus
tenebrism chiaroscuro realism foreshortening dynamic jesus looks a tad idealized, could be lack of beard muted, localized primary reds -complementary red and green
Durer Self Portrait
tenebrism and chiaroscuro realistic muted colors direct gaze at viewer venus of urbino stoic
Delivery of the Keys
use of left and right overlapping foreshortening CVA dynamic angles idealized composition: stable, little dynamic perspective: combines linear & aerial vanishing point opens horizon into deep space humanism lower vantage point vibrant complementary colors Marriage of the virgin
Deposition - Raphael
vibrant colors dynamic linear and aerial perspective chiaroscuro 45 90 pose seen at pieta expressionism
Triumph of Bacchus and Ariadne
vibrant colors idealized close to foreground lateral organization overlapping dynamic group on the left and group on the right foreshortening vanishing point along cva
Tribute Money
From Brancacci Chapel Continuous narrative •whole story in one frame Pose: contropposto Coordination of light and shadow chiaroscuro humanist vibrant colors in foreground aerial and linear perspective foreshortened arm
Abduction of the Sabine Women
Humanism Dynamic Vibrant colors Horse in strict profile Idealized figure in the bottom right corner looks like the roman dying gaul
The School of Athens
Humanism Horizontal distribution of figures Classical frieze Vibrant Linear and atmospheric perspective
St. Sebastian
Humanism •Doryphoros/spear bearer •Architecture; corinthian capital, fluted shaft Idealized naturalism contropposto proportions, and musculature
Creation of Adam
Humanist Influences Dynamic composition •diagonal lines •motion and movement Bilateral balance Placement of color adds to dynamism Idealized quality of naturalism Foreshortening effects Colors of red and green look like human brain This new era is about knowledge, thought, and consciousness Humanist effect: Apotheosis of Antoninus Pius and Faustina Dionysus from Acropolis
Madonna of the Meadow
Idealized Implicit triangular format Madonna on CVA Primary vibrant reds and blues linear and atmospheric perspective
The Birth of Venus
Purely humanist Large scale Venus on CVA Linear and atmospheric perspective Dynamic, strong diagonals with a sense of motion/movement Idealized quality of naturalism Contrapposto Schematic naturalism in the waves
Holy Trinity
•figures: -God the Father -dove of Holy Spirit -Jesus (the Son) -Madonna/St. John Baptist -donors (kneeling) •narrative: directed by gestures -M à instructing about C's death •see skeleton below •composition: stable > CVA & tri- format •color: primary red & blue; muted tones •light/shadow: est. volume on figures •issue: Humanism > classical architecture •triumphal arch •linear perspective: -square stone vaulting -steps leading to niche •vanishing point: implied horizon of J's outstretched arms Realistic quality of naturalism, proportions, musculature skeleton > grotesque Corinthian pilasters ionic engaged columns coffered vault medallions
Last Supper
Was innovative because he put all of the figures on one side to make it more dramatic mixed oil paint with tempera, so it flakes off Linear perspective Aerial perspective heads aligned across horizon line linear leads to vanishing point chiarscuro on walls and faces
Conversion of St. Paul
•figures: realistic •setting: ambiguous & distilled -reduced number of figures •spatial order: shallow -dramatic foreshortening -overlapping •composition: dynamic -diagonal arrangement of figures & forms •color: narrow range -punctuated by compliments •light/shadow: chiaroscuro & tenebrism
Entombment (Caravaggio)
•figures: realistic quality of naturalism -agedness; clothing -corpse of Christ à pallid; dangling arm (see Michelagelo's Pietà) •composition: dynamic (diagonal) -compact, distilled arrangement •spatial order: shallow -figures & forms placed as close to picture plane as possible •perspective: linear -rotated corner of tomb (see Titian) -foreshortening & overlapping •color: narrow range punctuated by primaries, muted •light: "tenebrism" & chiaroscuro -tenebrism > mutually exclusive from aerial perspective michaelangelos italian high ren pieta pose raphaels high ren deposition
Temptation of St. Anthony from Isenheim Altarpiece
aerial perspective overlapping dynamism grotesque (kind of like the simpsons)
Venus and Mars
almost look sculptural and like a frieze wet drapery •reveal the weight mass and volume light and shadow create mass classical greco-roman tradition humanism •objects from the greek and roman era •pose of venus is like dionysus on the pediment or pediment on antoninus pius •mars' pose is like archaic dying warrior
Brancacci Chapel
•function: private chapel •narratives: OT (Adam & Eve) + obscure NT stories (St. Peter) •composition: registered -two (2) horizontal cycles of narrative extend around chapel •stylistic source: Giotto's Arena Chapel -figures > large, heavy, and solid -emotions > faces and gestures •differences from Giotto: -M uses linear and atmospheric perspective, directional light, and chiaroscuro -effect: even more convincingly lifelike than 14th predecessor
The Garden of Love
colore vibrant colors painterly brushwork realism with classizing tendency humanism wet drapery Classical Greek Three Goddesses
Venus asleep
localized primaries idealized linear and atmospheric dynamic composition extended lengthy reclining venus of urbino light and shadow even distribution
Flight into Egypt
more idealized in depiction of nature aerial perspective dramatic lighting effects primaries red blue green cva figures, building hemisphere raphael school of athens
Peasant Wedding
not mentioned in class or on video
Return of the Hunters
not mentioned in class or on video
Marriage of the Virgin
rabbi on CVA -subject matter: NT -figures: idealized -poses: contrapposto S-sway -composition: stable -color: vibrant -light/shadow: directed -perspective: combines linear & aerial •vanishing point -unlike Perugino, opens up horizon into deep space •vantage point -lower (more intimate) than Perugino's -increases area that figures' occupy Humanism Also shows the same pose as Nike Adjusting Her Sandal
Smokers
realist tendency genre scene everyday life secular bacchus stable composition frieze like circular table motic muted and localized primary colors chiaroscuro, tenebrism, contre jour baroque, in the process mishandled perspective
