Art History Exam 2
Influence and Compositional elements in the work of Raphael
Raphael learned the Florentine method of building up his composition in depth with pyramidal figure masses; the figures are grouped as a single unit, but each retains its own individuality and shape. A new unity of composition and suppression of inessentials distinguishes the works he painted in Florence. Raphael also owed much to Leonardo's lighting techniques; he made moderate use of Leonardo's chiaroscuro (i.e., strong contrast between light and dark), and he was especially influenced by his sfumato (i.e., use of extremely fine, soft shading instead of line to delineate forms and features). Raphael went beyond Leonardo, however, in creating new figure types whose round, gentle faces reveal uncomplicated and typically human sentiments but raised to a sublime perfection and serenity.
Il Gesù--why is its facade and ground plan important for the history of architecture?
Renaissance grid of Classical pilasters and entablatures is abandoned for a two-story design that coordinates paired columns , aligned vertically to tie together two stories of the central block which corresponds with the nave elevation. the stairs invite you in, ask you to go in rather than around by being in the street was more detailed near the door, offering for you to see the inside for more details that lie within
Jusepe de Ribera—his training and influence
Ribera picks up the tenebroso style of Caravaggio, and straight forward realism
Michelangelo's Pietà—subject matter, meaning, and his composition, especially in comparison to Northern versions
theme: the Virgin Mary holds her dead son on her lap and mourns the loss made for: A French cardinal, for the cardinal's family chapel in Rome composition: was meant to be viewed up close so you look into jesus's face
How was Michelangelo's Last Judgment changed?
they painted covers over the nudes
Painterly handling
use of Venetian colors and hazy line work
Pope Urban VIII Barberini
was a huge patron of the arts.
Sources for imagery in Bosch's Garden of Earthly Delights
LCD illuminati
Bernini's Cornaro Chapel
-first time using painting, sculpture and architecture -he designed it as a rich and theatrical setting for the portrayal of a central event in Teresa's life. -Walls were covered in marble panels. -His intent was to capture a critical, dramatic moment at its emotional and sensual height, and by doing so guide viewers to identify totally with the event
Marie de'Medici
17th c. queen of France from the powerful Florentine family
Absolutism
A form of government in which the ruler is an absolute dictator (not restricted by a constitution or laws or opposition etc.)
Sfumato
A smokelike haziness that subtly softens outlines in painting; particularly applied to the painting of Leonardo and Correggio.
Artemisia Gentileschi—her life and themes in her work
Artemisia was raped at the age of 15 by a friend of the family, a painter who was giving her art lessons her themes were men getting back at man or taking revenge against them Judith Beheading Holofernes
Little Dutch Masters and their specialized genres
Artists specialized in one or more types of painting still life, genre scenes, portrait, landscape
The evolution of St. Peter's, Rome—architects who worked on it and how the building changed with each
Bramante was commissioned by Pope Julius II Michelangelo was appointed after Bramante died Geocode della Porta finished the dome after Michelangelo's death Carlo Maderno was commissioned by Pope Paul V to change Michelangelo's plan back to its longitudinal plan Bernie created an elaborate approach to the basilica
Bramante and his inspiration for the Tempietto and New St. Peter's
Bramante- painted until 50, became an architect at 53 Tempietto- first work in Rome known to be by Bramante New St.Peters- Pope Julius asked him to redesign St. Peters, he made the entire design but was not finished before he died Central Plan architecture- took inspiration from Greek and Roman architecture
Describe the career and various influences of Albrecht Dürer. Why is he often referred to as the "Leonardo of the North?" Why does Dürer's Self Portrait in our text show him as looking rather Christ-like? Where and with whom did he begin his training? How did that training influence his work? Give the title of an artwork of Dürer that demonstrates that influence and explain how it illustrates the influence. In what media does Dürer work? Which medium brings him fame and wealth? What is the title of the work (hint: it's a book) that he produced in that medium that sold so well? Why did it sell so well (name two reasons)? Where does Dürer travel and how does that influence his work? Give the title of an artwork of Dürer that shows that influence and explain how it illustrates the influence. Where did Dürer side when it came to the Protestant Reformation and Catholic Counter-Reformation? Give the title of an artwork of Dürer that shows which side he takes and explain how it illustrates his preference.
Dürer: - apprenticed with his father, who was a goldsmith, and with the local painter Michael Wolgemut, whose workshop produced woodcut illustrations for major books and publications Leonardo of the North because: - he was a talented painter and inquisitive scientist, his single greatest contributions may well have been as a printmaker. Almost single-handedly, he raised what had been considered a relatively minor craft to a more significant and versatile art that could compete with painting and sculpture as a major expressive force. Dürer's technical virtuosity and intellectual depth were unmatched. Hundreds of drawings and letters document his insatiable scientific curiosity as well as his insightful views on art Why did Durer paint himself Christ-like? - he or others that that he was on the same level of Christ because of his skills Training? - Michael Wolgemut, not long until he outpainted Michael Influence of training? - Wolgemut ran a large workshop producing many works of art and woodcuts for books. ex: Durer's Four Horsemen of the Apocalypse Best Selling 'book': - His famous series of 15 great designs for the Apocalypse -sold well because of the technical skill he had, as well as the end of the century coming everyone feared the apocalypse Where does Dürer travel and how does that influence his work? - Durer was able to see art from all over Europe, usually most artists may not had known what was going on in a different country, or even different parts of their own country - he was able to take the influence of all the great art already made and take it back with him to Germany Where did Dürer side when it came to the Protestant Reformation and Catholic Counter-Reformation? - Dürer's writings suggest that he may have been sympathetic to Martin Luther's ideas - he did sympathize with protestants ex: The Four Apostles and Dürer's involvement in the Protestant Reformation
Describe the characteristics of Mannerism, especially in comparison to the High Renaissance. What were the circumstances that brought about Mannerism? What were the goals of Mannerist artists? Describe the characteristics of a typical Mannerist artist. Describe the characteristics of a typical Mannerist patron. Name three specific titles of artworks (with the names of the artists/architects) and explain the characteristics that make these artworks Mannerist. Make sure to give examples of more than one medium (e.g. painting, sculpture, or architecture) in your discussion.
Characteristics: - irrational settings, artificial colors, unclear subject matters, and elongated forms. - things not possible in real life, more character-like than natural and realistic paintings of the High Renaissance which focused on paintings that reflected what you see in the real world - mannerism was life-like but not realistic Goal: - mannerist artists began to reject the harmony and ideal proportions of the Renaissance in favor of irrational settings, artificial colors, unclear subject matters, and elongated forms. Patrons of the Mannerist movement: Describe the characteristics of a typical Mannerist artist Artists of the Mannerist movement: were looking to deviate from the high renaissance and classical art. They focused some times on sin, or eroticism, even figures they saw from the real world and other art but exaggerating parts of what they saw and applied it to art and architecture - after the protestant reformation started in the 1500's Parmigianino, Madonna of the Long Neck, 1530 -the exaggerated neck -massive body - sheer clothing Bronzino, An Allegory with Venus and Cupid, c. 1545 -disturbingly erotic and incestuous - some figures are a kind of cool, gray-white, but the other figures aren't. the only warmth is in the cheeks- conveying a specific emotion of Venus Giambologna, Abduction of a Sabine Woman, 1581-83 -elegance / complexity / enigmatic / sophistication / gracefulness and demonstration of skill, rather than natural posing
Etching, Drypoint
Drypoint is a is an intaglio printmaking process -- or the print made from such a process -- similar to engraving (but different from etching) in that the image is created directly on a metal plate, usually copper, using a tool capable of making lines in the metal Etching is cutting into the unprotected parts of a metal surface to create a design in intaglio (incised) in the metal
Poesie
Gioegione introduced "painted poems"/poesies- inspired by the contemporary literary revival of ancient pastoral verse but defy specific narrative or symbolic interpretation
Portraiture of Frans Hals
Hals went beyond likeness to convey a sense of mood or emotion in the sitter
Judith Leyster—her significance as an artist, how she presents herself in her Self-Portrait, 1630
Her elegant dress and the fine chair in which she sits are symbols of her success as n artist whose popularity was based on the very type of painting in progress on her easel she knows that she is great artist and has relaxed body language, confident
Explain how Baroque art begins as Catholic Counter-Reformation art. How is the art made during this time responding to the demands of the Catholic Church? Explain what the Church wanted from art, why they wanted it, and how the work of the Baroque artists fulfill that desire. What were the new levels of realism introduced by the Baroque artists? Name three specific titles (with the name of the corresponding artist) and explain the characteristics that make them examples of Baroque Art. Make sure to discuss artworks by three different artists.
How barogue art begins as Catholic Counter-Reformation art: it is art created after the Council of Trent made new rules and guidelines for art, it was a new way they wanted paintings to be after mannerism What the church wanted: wanted art to be an instrument of propaganda and means of leading the spectator to a reinvigorated Christian practice and belief; wanted art to inspire and educate; art should be about distinctive aspects of Catholic dogma; art had strong sense of movement; spotlights and dark backgrounds; tenebrism; impasto; many works were commissioned as large scale public works; Council of Trent: clear what is; elicit response; realistic even if gory New levels of realism introduced: shocking realism, dynamic movement, or exuberant ornamentation Bernini, David, 1623-1624 -dynamic movement shown at all angles -facial features are intense and realistic Caravaggio, Bacchus, 1596 -offering body and wine suggestively, in motion, kind of like a freeze frame, you know what it means -very realistic farmers tan -great detail in the food and wine Peter Paul Rubens, The Three Grace, 1630-35 -Rubenesque: painting real, voluptuous women's bodies
Quotations used in/Influence for Rubens' Elevation of the Cross, 1610
Influence by the Renaissance movements with color, form and musculature
Leonardo's career/techniques/style/notebooks/interests/etc.
Interests: botany, engineering, geology, anatomy, fluid dynamics, weaponry design, cartography, stage design, costume design, music composition, musical instrument design, urban planning, painting, sculpture, architecture, robotics -father of modern medicine -questioned churches teachings style: only relied on what he could see and experience notebooks: inventions for weaponry, aviation, cadaver studies, first en plein air study, drew individual specimens up close through its life cycle
Titian's Pesaro Madonna and its compositional innovation
It was almost unheard of to move the Holy Virgin out of the center of the picture, and to place the two administering saints - St Francis, who is recognizable by the Stigmata (the wounds of the Cross), and St Peter, who has deposited the key (emblem of his dignity) on the steps of the Virgin's throne
Still lifes and Landscapes in Dutch Baroque Art—symbolism and imagery
Landscapes- artists used minimum colors and painted in their studios Still lifes-is a work of art depicting mostly inanimate subject matter. Vanitas- Emptiness Skull- a memento mori Sword- cannot protect you from death watch- Passage of time Burning candle-Life goes up in smoke Shell- infinity Musical Instruments- earthly endeavor Books- nothing is lasting
Symbolism and imagery in Dürer's Adam and Eve and Four Horsemen of the Apocalypse
Melancholic: elk, black bile Phlegmatic: ox, phlegm Sanguine: rabbit, blood Choleric: cat, yellow bile Only Adam and Eve are in perfect balance internally
Jan Vermeer—style, tools he used
Meticulous in his technique, with a unique and highly structured compositional approach and soft, liquid painting style Vermeer moves buildings around to create an ideal composition Tools- camera obscura
Patronage/art market in the Dutch Republic, as opposed to the other cultures we looked at
No longer faced with the propagandistic mandates of regal and religious sponsorship, the content and context of art production by Dutch artists revolutionized to suit a newly emerging public art market that was different from those in the rest of Europe.
Iconoclasm
Opposing or even destroying images, especially those set up for religious veneration in the belief that such images represent idol worship.
Rembrandt van Rijn—his life, work, influence, innovation in group portraiture
Studied under Pieter Lastman Absorbed an interest in the naturalism, drama, and tenebrism championed by Caravaggio Rembrandt changed group portrait into a changed moment from a life story
Leonardo's Last Supper—composition, technique used, damage, restoration
Technique- because Leonardo sought a greater detail and luminosity than could be achieved with traditional fresco, he covered the wall with a double layer of dried plaster. Then, borrowing from panel painting, he added an undercoat of lead white to enhance the brightness of the oil and tempera that was applied on top. This experimental technique allowed for chromatic brilliance and extraordinary precision but because the painting is on a thin exterior wall, the effects of humidity were felt more keenly, and the paint failed to properly adhere to the wall Composition- had all characters on the same side of the table Damage- from decay due to Leonardo's technique, bomb that hit the wall long ago Restoration- the last and most extensive was completed in 1999. Instead of attempting to restore the image, the last conservation effort sought to arrest further deterioration and where possible, uncover Leonardo's original painting. Begun in 1977 and comprising more than 12,000 hours of structural work and 38,000 hours of work on the painting itself, this effort has resulted in an image where approximately 42.5% of the surface is Leonardo's work, 17.5% is lost, and the remaining 40% are the additions of previous restorers
The changing social status of artists in the 1500s
That artists became rich improved the overall status of the profession; conversely, as the position of artists in society improved, they commanded higher fees A few artists were raised to the nobility and thus separated from control by the guilds; in fact, men of aristocratic status were prohibited from guild membership
Symbolism and imagery in Velazquez' Las Meninas—who is he painting, viewer participation, levels of reality, social status, etc.
The painting contains life-size figures rendered in Velazquez's fully developed painterly style At first one is tempted to say the King's daughter, attended by las meninas, the ladies in waiting, is the subject of the work. She stands in the center and is a center of attention. But one notices that the artist himself is behind her, working on an unframed easel painting; he is looking at something else, as is the Infanta, the man in the doorway, and almost everyone else, including the dog. The viewer has become the subject of the work of art. The figures in the painting are watching you as Velazquez paints your portrait
Rubenesque
Used to describe art that depicts full-figured female bodies
Diego Velazquez—his life, his work, his influences, his relationship with the royal family and court
Velazquez's early works in Seville show the same Caravaggesque style as Ribera He depicts everyday life scenes in this style Velazquez's attention to the contrasting surfaces in the Watercarrier-- the shimmer of the glass, the toothy unglazed terra-cotta jug, and the glistening drips of water running down it, is one of the reasons for his early rise to fame in Seville. Velazquez was called to the royal court in Madrid to paint a portrait of the recently crowned King of Spain, Philip IV. Philip was the great grandson of Charles V Hapsburg, the emperor who knighted Titian.
Symbolism and Imagery in Bronzino's Allegory with Venus and Cupid
Venus and her son, Cupid have an unsettling erotic moment Venus snatches a arrow from cupid's quiver- thinks shes disarming cupid Disturbing and Chronos thinks so too
Vitruvius/Symbolism in the Vitruvian Man
Vitruvius had a particular interest in the proportions of the human body. ... Vitruvius' work on human proportion has sparked the interest of several artists through the centuries. Leonardo da Vinci famously illustrated the proportional canon in his drawing known simply as The Vitruvian Man
Jesuit Order--St. Ignatius Loyola
a Spanish knight from a local Basque noble family, hermit, priest since 1537, and theologian, who founded the Society of Jesus (Jesuits) and, on 19 April 1541, became its first Superior General. Ignatius emerged as a religious leader during the Counter-Reformation. Loyola's devotion to the Catholic Church was characterized by absolute obedience to the Pope
Baldacchino—definition, symbolism and imagery, function in church, source of the bronze
a ceremonial canopy of stone, metal, or fabric over an altar, throne, or doorway Chair of Peter- direct descent of Christian authority from Peter to the current Pope Gigantic corner columns symbolize the union of Christianity and its Jewish tradition Orb- universe Cross- reign of Christ Marks the site of the tomb of Peter and serves as a tribute to Urban VIII and his family Source of Bronze- The Pantheon- controversial views on whether they should have melted the stars for the project
Figura serpentinata
a contortion or twisting of the body in contrary directions, especially characteristic of the sculpture and paintings of Michelangelo and the Mannerists.
camera obscura
a darkened enclosure in which images of outside objects are projected through a small aperture or lens onto a facing surface
Tenebroso/tenebrism
a dramatic dark and light contrast in a painting
Vanitas
a theme in still life painting that stresses the brevity of life and the folly of human vanity
St. Anthony's Fire (ergotism)
altarpiece was placed in a hospital to treat st. anthony's fire, patient felt like the painting
Terribilità
awesomeness or emotional intensity of conception and execution in an artist or work of art, originally as a quality attributed to Michelangelo by his contemporaries.
Four Books of Architecture
by Andrea Palladio discusses building materials and techniques, as well as the five orders of architecture: Tuscan, Doric, Ionic, Corinthian, and Composite. Palladio describes the characteristics of each order and illustrates them. The Second Book discusses private town houses and country estates, almost all designed by Palladio. The Third Book discusses streets, bridges, piazzas, and basilicas, most of ancient Roman origin. The Fourth Book discusses ancient Roman temples, including the Pantheon
Characteristics of the architecture of Palladio
characteristics of Alberti and roman architecture uses harmonious symmetry and controlled ornamentation
The patronage of Pope Julius II
commissioned a series of highly influential art and architecture projects in Rome. The painting of the Sistine Chapel ceiling by Michelangelo and various rooms in the Vatican by Raphael are considered among the masterworks that mark the High Renaissance in Rome
Sistine Ceiling—its symbolism and imagery, Michelangelo's techniques, development
design: had an illusionistic marble architecture framework for the figure sand narrative scenes on the vault of the chapel. running completely around the ceiling is a painted cornice with projections supported by pilasters decorated with sculptured putti. between the pilasters are figures of prophets and sibyls, who were believed to have foretold Jesus's birth. seated on the fictive cornice are heroic figures of nude young men, called ignudi, holding sashed attached to large medallions technique: The Sistine Chapel ceiling is painted in fresco development: took a panel or two for Michelangelo to figure out he was drawing way to small and detailed for the giant ceilings, gained fresco knowledge while painting the ceiling- you can see his mistakes and how he developed with each panel
Colore (or Colorito) vs. Disegno
disegno- during the Renaissance in Florence, drawing was regarded as the unifying practice of all the arts, embodying the fundamental concept of design (disegno means both "drawing" and "design") --idealised colore- the Venetian love of rich color and the effects of reflected or diffused light, which are also present throughout the city, in the watery (and often foggy) environment of its canals --more true to life
Caravaggio—characteristics of his work and his influence on other artists
dramatic lighting and the representation of religious figures in modern clothes and attitudes. Working from life and without the aid of preparatory sketches influenced: Rubens, Hals, Rembrandt, Vermeer, Velazquez and Bernini
Caravaggisti
followers of Caravaggio
Viewer participation in the work of Caravaggio
he gets the viewer involved by adding them to the painting psychologically
Bernini's David—how is it different than those that came before it?
introduced a new type of three dimensional compositions that intrudes forcefully into the viewers space The figure is twisted rather than just stating straight He is in motion from every angle you saw a whole story rather than a one-dimensional perspective
Symbolism and imagery in Titian's Venus of Urbino
it is almost certainly celebrating marital love and the physical intimacy between man and wife, a supposition supported by a number of details. In her right hand, for instance, the girl holds a posy of roses, which usually symbolize love; also, the sleeping dog is a common symbol of fidelity; lastly, the maids in the background are depicted rummaging in a traditional cassone, where wives commonly stored their trousseaux. Perhaps the picture was conceived as an ideal model of behaviour for Giuliana, the Duke's young bride. It was certainly not uncommon for pictures of an explicitly erotic nature to be commissioned to celebrate a wedding, although they would be intended for private viewing only.
Titian's career/accomplishments/innovations
the greatest Italian Renaissance painter of the Venetian school Titian was well known for his usage in color. He was a big influence on later artists to come after him. He was a role model for these artists who used his way of color in their paintings. Titian contributed to the Renaissance art, painting altarpieces, portraits, mythologies, and pastoral landscapes with figures.
Council of Trent guidelines on art
made new guidelines on what could be painted for church art
Symbolism and imagery of Michelangelo's David--where was it made to go, where did it end up, what did this placement come to symbolize?
made to go: on top of a cathedral ended up: in the cities public square because it was so admired the placement came to symbolize: what Florence wanted to be after gaining freedom, tough and strong and ready for battle
Mannerism and possible reasons for the style's development
mannerism developed into an anti-classical movement in which artificiality, grace, and elegance took priority over the ordered balance and lifelike references that were hallmarks of High Renaissance art mannerist style- manipulated and distorted accepted formal conventions, creating contrived compositions and irrational spatial environments
Symbolism and imagery in the Pastoral Concert
no one knows the exacy meaning of the painting- the women seem to be angels trying to inspire them through imagery like the well and music
Impasto
painting that applies the pigment thickly so that brush or palette knife marks are visible
Francesco Borromini
secured a reputation throughout Europe with his striking design for a small church, San Carlo alle Quattro Fontane in Rome. He differed from Gian Lorenzo Bernini and other contemporaries in basing his designs on geometric figures (modules) rather than on the proportions of the human body.
En plein air
studies done outdoor of real landscapes
Raphael's School of Athens—symbolism, imagery, characters
symbolism: has come to symbolize the marriage of art, philosophy, and science that was a hallmark of the Italian Renaissance imagery: group of greats discussing their works to one another characters: Michelangelo as Heraclitus, Socrates/Diogenes the Cynic, Apollo, Minerva, Plato, Aristotle, Euclid, Bramante, and Raphael
