Test 1 - Art History Survey 2

Etching

A kind of engraving in which the design is incised in a layer of wax or varnish on a metal plate. The parts of the plate left exposed are then etched (slightly eaten away) by the acid in which the plate is immersed after incising.

Intaglio Print

A printing technique in which the design is formed from ink-filled lines cut into a surface. Engraving, etching, and drypoint are examples of intaglio.

Reformation

A religious movement of the 16th century that began as an attempt to reform the Roman Catholic Church and resulted in the creation of Protestant churches.

Triptych

A three-paneled painting or altarpiece.

Les Tres Heures Duc de Berry 1413-1416

Artist- Limbourg Brothers - The sumptuous pictures in Les Tres Riches Heures depict characteristic activities of each month. The prominence of genre subjects reflects the increasing integration of religious and secular art. The full-page calendar pictures of Les Tres Riches Heures are the most famous in the history of manuscript illumination. They represent the 12 months in terms of the associated seasonal tasks; alternating scenes of nobility and peasantry and featuring the duke's relationship with his courtiers and peasants.

Man in a Red Turban 1433

Artist- Van Eyck - Man in a Red Turban is the first known Western painted portrait in the thousand years in which the sitter looks directly at the viewer. The inscribed frame suggests that it is a self-portrait of Jan van Eyck.

Deposition 1435

Artist- Van der Weyden - Deposition resembles a relief carving in which the biblical figures act out a drama of passionate sorrow as if on a shallow theatrical stage. The painting makes an unforgettable emotional impression. One of Rogier's early masterworks of Deposition, the center panel of a triptych commissioned by the archers' guild of Louvain for the church of Notre-Dame hors-lesmurs (Church of Our Lady—The Virgin—outside the [town] walls).

Butcher's Stall 1551

Artist-Aertsen - Butcher's Stall appears to be a genre painting, but in the background, Joseph leads a donkey carrying Mary and the Christ Child. Aertsen balanced images of gluttony with allusions to salvation. Butcher's Stall is one of the genre scenes (paintings of daily life) for which Aertsen achieved fame. On display is an array of meat products—a side of a hog, chickens, sausages, a stuffed intestine, pig's feet, meat pies, a cow's head, a hog's head, and hanging entrails. Also visible are fish, pretzels, cheese, and butter. Gossaert's Neptune and Amphitrite is exceptional in treating a Greco-Roman subject. More typical, and another example of the Netherlandish tendency to inject reminders about spiritual well-being into paintings of everyday life, is Butcher's Stall.

Battle of Issus 1529

Artist-Altdorfer - Duke William IV of Bavaria commissioned The Battle of Alexander at Issus in 1528 as part of a set of historical pieces that was to hang in his Munich residence. Modern commentators suggest that the painting, through its abundant use of anachronism, was intended to liken Alexander's heroic victory at Issus to the contemporary European conflict with the Ottoman Empire. In particular, the defeat of Suleiman the Magnificent at the Siege of Vienna may have been an inspiration for Altdorfer. A religious undercurrent is detectable, especially in the extraordinary sky; this was probably inspired by the prophecies of Daniel and contemporary concern within the Church about an impending apocalypse. The Battle of Alexander at Issus and four others that were part of William's initial set are in the Alte Pinakothek art museum in Munich.

Garden of Earthly Delights 1505-10

Artist-Bosch - In the fantastic sunlit landscape that is Bosch's Paradise, scores of nude people in the prime of life blithely cavort. The horrors of Hell include sinners enduring tortures tailored to their conduct while alive. The leading Netherlandish painter of the early 16th century was Hieronymus Bosch (ca. 1450-1516), one of the most fascinating artistic personalities in history. In the left panel, God (in the form of Christ) presents Eve to Adam in a landscape, presumably the Garden of Eden. Bosch's wildly imaginative setting includes an odd pink fountainlike structure in a body of water and an array of fanciful and unusual animals, including a giraffe, an elephant, and winged fish. The central panel is a continuation of Paradise, a sunlit landscape filled with nude people, including exotic figures of African descent, who frequently appear in Renaissance paintings.

Birth of Venus 1482

Artist-Botticelli - At the left, Zephyrus, carrying Chloris, blows Venus on a cockleshell to Cyprus. Botticelli's revival of the theme of the female nude, largely absent from medieval art, was consistent with the Neo-Platonic view that beholding physical beauty prompts the contemplation of spiritual beauty. Awaiting the newborn goddess of love on her sacred island is the nymph Pomona, who runs to meet Venus with a brocaded mantle. Her draperies undulate loosely in the gentle gusts of wind. The most remarkable aspect of Birth of Venus is that Botticelli used as a model for his Venus an ancient statue similar to the Aphrodite of Knidos by the famed Greek sculptor Praxiteles. Botticelli painted Birth of Venus for the Medici based on a poem by Angelo Poliziano (1454-1494), a leading humanist of the day.

Tempietto 1502

Artist-Bramante - 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. The first in the distinguished line of architects of the new Saint Peter's was Donato d'Angelo Bramante (1444-1514). Born in Urbino and trained as a painter (perhaps by Piero della Francesca), Bramante went to Milan in 1481 and, as Leonardo did, stayed there until the French captured the city in 1499. In Milan, Bramante abandoned painting to become his generation's most renowned architect. The Tempietto's design is severely rational and features a stately circular stylobate (stepped temple platform) and austere Tuscan columns. Bramante achieved a wonderful balance and harmony in the relationship of the parts (dome, drum, and base) to one another and to the whole.

Venus, Cupid, Folly and Time 1746

Artist-Bronzino - Bronzino was the official portraitist of Grand Duke Cosimo de' Medici. His portrayal of Cosimo's Spanish wife and their second son features rich costumes and coolly detached personalities. In 1540, Cosimo I de' Medici married Eleanora of Toledo (1519-1562), daughter of Charles V's viceroy in Naples, and thereby cemented an important alliance with the Spanish court. Several years later, Cosimo asked Bronzino to paint Eleanora and their second son, Giovanni, who then was about three years old. As in other Bronzino portraits, the subjects appear aloof and emotionless. Bronzino idealized both Eleanora and Giovanni, giving both of them perfect features and blemishless skin that glows like alabaster.

Netherlandish Proverbs 1559

Artist-Bruegel - In this painting of a Netherlandish village, Bruegel indulged his audience's obsession with proverbs and passion for clever imagery, and demonstrated his deep understanding of human nature. As the viewer scrutinizes the myriad vignettes within the painting, Bruegel's close observation and deep understanding of human nature become apparent. The proverbs depicted include, on the far left, a man in blue gnawing on a pillar. "He who bites a church pillar" is a religious zealot engaged in folly. Bruegel's Netherlandish Proverbs, painted several years after the artist returned to Antwerp from Italy, depicts a Netherlandish village populated by a wide range of people, encompassing nobility, peasants, and clerics. Seen from the kind of bird's-eye view that Patinir favored is a mesmerizing array of activities reminiscent of the topsy-turvy scenes of Bosch

Dome of Florence Cathedral 1420-36

Artist-Brunelleschi - The Dome of Florence Cathedral, a sublime example of 15th century Renaissance architecture, which was engineered by architect Filippo Brunelleschi. His success in surmounting the engineering problems faced during the dome's construction advanced the prestige of Florence amongst rival cities such as Pisa, Sienna and Lucca and helped to establish the city as the centre of the early period of the Italian Renaissance.

Merode Altarpiece 1425

Artist-Campin - · His most famous work is the Merode Altarpiece, one of the many small altarpieces of this period produced for private patrons and intended for household prayer. Perhaps the most striking feature of these private devotional images is the integration of religious and secular concerns.

Saltcellar of Francis I 1540-43

Artist-Cellini - Famed as a master goldsmith, Cellini fashioned this costly saltcellar for the table of Francis I of France. The elongated proportions of the figures clearly reveal Cellini's Mannerist approach to form. Cellini was, first of all, a goldsmith, but only one of his major works in that medium survives, the saltcellar he made for the royal table of Francis I. The king had hired Cellini with a retainer of an annual salary, supplemented by fees for the works he produced—for example, his Genius of Fontainebleau for the royal hunting lodge outside Paris.

David 1420-2

Artist-Donatello - Donatello's David possesses both the relaxed contrapposto and the sensuous beauty of nude Greek gods. The revival of classical statuary style appealed to the sculptor's patrons, the Medici. The use of perspective systems in relief sculpture and painting represents only one aspect of the Renaissance revival of classical principles and values in the arts. Another was the revival of the freestanding nude statue. The first Renaissance sculptor to portray the nude male figure in statuary was Donatello.

St. Mark 1411-13

Artist-Donatello - In this statue carved for the guild of linen makers and tailors, Donatello introduced classical contrapposto into Quattrocento sculpture. The drapery falls naturally and moves with the body. Another sculptor who carved statues for Or San Michele's niches was Donato di Niccolo Bardi, called Donatello (ca. 1386-1466), a former apprentice in Ghiberti's workshop, who incorporated Greco-Roman sculptural principles in his Saint Mark, executed for the guild of linen makers and tailors.

Self Portrait 1500

Artist-Durer - Dürer here presents himself as a frontal Christlike figure reminiscent of medieval icons. It is an image of the artist as a divinely inspired genius, a concept inconceivable before the Renaissance. Dürer's earliest preserved self-portrait—a silverpoint drawing now in the Albertina in Vienna—dates to 1484, when he was only 13, two years before he began his formal education as an apprentice in the workshop of Michael Wolgemut.

Four Apostles 1526

Artist-Durer - Dürer's support for Lutheranism surfaces in his portraitlike depictions of four saints on two painted panels. Peter, representative of the pope in Rome, plays a secondary role behind John the Evangelist. Dürer's major work in the oil medium is Four Apostles, a two-panel painting he produced without commission and presented to the city fathers of Nuremberg in 1526 to be hung in the city hall. Saints John and Peter appear on the left panel, Mark and Paul on the right.

Burial of the Count of Orgaz 1586

Artist-El Greco - 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. More typical of El Greco's work is Burial of Count Orgaz, painted in 1586 for the church of Santo Tomé in Toledo. 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. The upward glances of some of the figures below and the flight of an angel above link the painting's lower and upper spheres. The action of the angel, who carries the count's soul in his arms as Saint John and the Virgin intercede for it before the throne of Christ, reinforces this connection.

Madonna and Child 1455

Artist-Filippo Lippi - · . Fra Filippo, a monk guilty of many misdemeanors, represented the Madonna and Christ Child in a distinctly worldly manner, carrying the humanization of the holy family further than any artist before him. Another younger contemporary of Fra Angelico, Fra Filippo Lippi (ca. 1406-1469), was also a friar—but there all resemblance ends. Fra Filippo was unsuited for monastic life. He indulged in misdemeanors ranging from forgery and embezzlement to the abduction of a pretty nun, Lucretia, who became his mistress and the mother of his son, the painter Filippino Lippi (1457-1504).

The Tempest 1510

Artist-Giorgione - The subject of this painting featuring a nude woman in a lush landscape beneath a stormy sky is uncertain, contributing, perhaps intentionally, to the painting's intriguing air of mystery. Describing Venetian art as "poetic" is particularly appropriate, given the development of poesia, or painting meant to operate in a manner similar to poetry. Both classical and Renaissance poetry inspired Venetian artists, and their paintings focused on the lyrical and sensual. Giorgione painted The Tempest for a wealthy private collector, Gabriele Vendramin, and much scholarly debate has centered on the painting's subject, fueled by X-rays of the canvas, which revealed that the Venetian master altered many of the details as work progressed.

Isenheim Altarpiece 1510-15

Artist-Grunewald - 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. Matthias Neithardt, known conventionally as Matthias Grünewald (ca. 1480-1528), worked for the archbishops of Mainz in several capacities, from court painter and decorator to architect, hydraulic engineer, and superintendent of works. Grünewald eventually moved to northern Germany, where he settled at Halle in Saxony. Created for the monastic hospital order of Saint Anthony of Isenheim, the Isenheim Altarpiece takes the form of a carved wood shrine by Nikolaus Hagenauer (active 1493-1538) featuring large painted and gilded statues of Saints Anthony Abbot, Augustine, and Jerome in the main zone, and smaller statues of Christ and the 12 apostles in the predella.

The French Ambassadors 1533

Artist-Holbein - · In this double portrait, Holbein depicted two humanists with a collection of objects reflective of their worldliness and learning, but he also included an anamorphic skull, a reminder of death. Also in the employ of the rich and powerful for much of his career was Hans Holbein the Younger (ca. 1497-1543), who excelled as a portraitist. Born in Augsburg, Germany, and trained by his father, Holbein produced many of his best portraits in England. The surfaces of Holbein's paintings are as lustrous as enamel, and the details are exact and exquisitely drawn, consistent with the tradition of 15th-century Flemish art.

Last Supper 1495-98

Artist-Leonardo Da Vinci - . 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. For Ludovico Sforza, Leonardo painted Last Supper in the refectory of the church of Santa Maria delle Grazie in Milan. Both formally and emotionally, Last Supper is Leonardo's most impressive work. It is also his largest. On the wall opposite a Crucifixion with portraits of Ludovico and his family, Leonardo painted Jesus and his 12 disciples sitting at a long table placed parallel to the picture plane in a simple, spacious room. In the center, Jesus appears isolated from the disciples and in perfect repose, the calm eye of the swirling emotion around him. The central window at the back, whose curved pediment arches above his head, frames his figure.

Virgin of the Rocks 1485

Artist-Leonardo Da Vinci - The result is organic rather than intellectual. Other painters threw a deliberate schema over nature, seeing it in terms of conscious mingling, enriched by art, whereby buildings were allied to scenery, minor groups of figures enlivened background spaces, and objects were artistically re-arranged to mirror a cosmic order. This showed the artist's invention. In this painting Leonardo designs a grotto which is marvelous for seeming not human work at all. It appears the product of natural forces: the rocks ribbed and smoothed by the constant motion of water, present in the winding river but felt in the subaqueous light and as giving moisture for the plants - each recorded with botanical accuracy - that grow so thickly and yet are pallid. It still seems a region untrodden by man, because the figures who kneel in the grotto have something of the same inevitable growing quality as the plants; they are no stranger in their setting, and there is no sense of their incongruity within it.

Mona Lisa 1503-5

Artist-Leonardo Da Vinci - · 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. Leonardo's Mona Lisa is probably the world's most famous portrait. In his biography of Leonardo, Vasari identified the woman portrayed as 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." The enduring appeal of Mona Lisa also derives from Leonardo's decision to set his subject against the backdrop of a mysterious uninhabited landscape. This setting, with roads and bridges seemingly leading nowhere, recalls that of his Madonna of the Rocks.

Camera Picta 1474

Artist-Mantegna - · Working for Ludovico Gonzaga, who established Mantua as a great art city, Mantegna produced for the duke's palace the first completely consistent illusionistic decoration of an entire room. Like other princes, Ludovico Gonzaga believed that it was important to surround himself with humanist scholars and talented artists, and he made Mantua one of Europe's leading cultural centers.

Tribute Money 1427

Artist-Masaccio - Masaccio's figures recall Giotto's in their simple grandeur, but they convey a greater psychological and physical credibility. He modeled his figures with light coming from a source outside the picture. The artist who personifies the innovative spirit of early-15th-century Florentine painting was Tommaso di ser Giovanni di Mone Cassai, known as Masaccio

Holy Trinity 1424-7

Artist-Masaccio - Masaccio's pioneering Holy Trinity is the premier early-15th-century example of the application of mathematics to the depiction of space according to Filippo Brunelleschi's system of perspective. Masaccio's Holy Trinity in Santa Maria Novella, another of the young artist's masterworks, is the premier early-15th-century example of the application of mathematics to the depiction of space. In this fresco, Masaccio painted the composition on two levels of unequal height.

Old Woman 1513

Artist-Massys - It shows a grotesque old woman with wrinkled skin and withered breasts. She wears the aristocratic horned headdress of her youth, out of fashion by the time of the painting, and holds in her right hand a red flower, then a symbol of engagement, indicating that she is trying to attract a suitor. However, it has been described as a bud that will 'likely never blossom'. The work is Matsys' best-known painting

Sistine Chapel 1508-12

Artist-Michelangelo - In the Sistine Chapel frescoes, as in his sculptures, Michelangelo relentlessly concentrated his expressive purpose on the human figure. To him, the body was beautiful not only in its natural form but also in its spiritual and philosophical significance. The body was the manifestation of the character of the soul. When Julius asked Michelangelo to take on the challenge of providing frescoes for the ceiling of the Sistine Chapel, the artist insisted that painting was not his profession—a protest that rings hollow after the fact, but Michelangelo's major works until then had been in sculpture. Michelangelo Buonarroti, ceiling of the Sistine Chapel, Vatican City, Rome, Italy, 1508-1512. Fresco. Michelangelo labored almost four years for Pope Julius II on the frescoes for the ceiling of the Sistine Chapel. He painted more than 300 figures illustrating the creation and fall of humankind. When Julius II suspended work on his tomb, the pope offered the bitter Michelangelo the commission to paint the ceiling of the Sistine Chapel in 1508. The chapel, built by Sixtus IV in 1479 to 1481 between the Vatican's apostolic palace and Saint Peter's.

David 1501-5

Artist-Michelangelo - 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. Michelangelo returned to Florence in 1501. In 1495, during the Medici exile, the Florentine Republic had ordered the transfer of Donatello's David from the Medici residence to the Palazzo della Signoria to join Verrocchio's David there. Despite the traditional association of David with heroic triumph over a fearsome adversary, Michelangelo chose to represent the young biblical warrior not after his victory, with Goliath's head at his feet (as Donatello and Verrocchio had done), but before the encounter, with David sternly watching his approaching foe.

Pieta 1498

Artist-Michelangelo - Michelangelo's representation of Mary cradling Christ's corpse captures the sadness and beauty of the young Virgin but was controversial because the Madonna seems younger than her son. Michelangelo made his first trip to Rome in the summer of 1496, and two years later, still in his early 20s, he produced his first masterpiece there: a Pietà for Jean de Bilhères Lagraulas (1439-1499), Cardinal of Saint-Denis and the French king's envoy to the Vatican.

Palazzo Medici 1445

Artist-Michelozzo - The Medici palace, with its combination of dressed and rusticated masonry and classical moldings, draws heavily on ancient Roman architecture, but Michelozzo creatively reinterpreted his models. It seems curious that Brunelleschi, the most renowned architect of his time, did not participate in the upsurge of palace building that Florence experienced in the 1430s and 1440s.

Villa Rotonda 1566-70

Artist-Palladio - The Villa Rotonda has four identical facades, each one resembling a Roman temple with a columnar porch. In the center is a great dome-covered rotunda modeled on the Pantheon. Palladio's most famous villa, Villa Rotonda, near Vicenza, is exceptional because the architect did not build it for an aspiring gentleman farmer but for a retired monsignor in the papal court in Rome, Paolo Almerico, who wanted a villa for social events. Palladio planned and designed Villa Rotonda, located on a hilltop, as a kind of belvedere (literally "beautiful view"; in architecture, a structure with a view of the countryside or the sea), without the usual wings of secondary buildings.

Madonna with the Long Neck 1535

Artist-Parmigiano - Parmigiano'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.

Battle of the Ten Nudes 1465

Artist-Pollaiuollo - · Pollaiuolo was fascinated by how muscles and sinews activate the human skeleton. He delighted in showing nude figures in violent action and from numerous foreshortened viewpoints. Battle of Ten Nudes, like Pollaiuolo's Hercules and Antaeus, reveals the artist's interest in the realistic presentation of human figures in action.

School of Athens 1509-11

Artist-Raphael - 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. Three years after completing Madonna in the Meadow, Raphael received one of the most important painting commissions that Julius II awarded—the decoration of the papal apartments in the Apostolic Palace of the Vatican. Of the suite's several rooms, Raphael painted the room that came to be called the Stanza della Segnatura (Room of the Signature—Julius's papal library, where later popes signed official documents) and the Stanza d'Eliodoro (Room of Heliodorus—the pope's private audience room, named for one of the paintings there) The groups appear to move easily and clearly, with eloquent poses and gestures that symbolize their doctrines and present an engaging variety of figural positions. The self-assurance and natural dignity of the figures convey calm reason, balance, and measure—those qualities that Renaissance thinkers admired as the heart of philosophy. Significantly, Raphael placed himself among the mathematicians and scientists in School of Athens. Certainly, the evolution of pictorial science approached perfection in this fresco in which Raphael convincingly depicted a vast space on a two-dimensional surface.

Saint Anthony Tormented by Demons 1480-90

Artist-Shongauer - Saint Anthony gazes serenely out at the viewer as frenzied demons grab at his limbs, clothes, and hair and pound him with sticks. Schongauer depicted these imagined creatures in a remarkably convincing way. His realistic description of their scales and fur point to his direct observation of animals, yet he compiled these naturalistic details to produce some of the most fantastic and grotesque fabrications in the history of printmaking. Although this is one of Schongauer's earliest prints, it was probably his most influential: Vasari recounted that even Michelangelo made a color drawing of the work at the age of thirteen.

Portrait of the Artist's Sisters and Brother 1555

Artist-Sofonisba Anguissola - 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. The aloof formality of Bronzino's dynastic portrait is much relaxed in the portraiture of Sofonisba Anguissola (ca. 1532-1625) of Cremona in northern Italy. Anguissola 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's use of relaxed poses and expressions, her sympathetic personal presentation, and her graceful treatment of the forms brought her international acclaim.

Isabella d'Este 1534-36

Artist-Titian - Isabella d'Este, marquess of Mantua, was one of the most powerful women of the Renaissance era. When, at age 60, she hired Titian to paint her portrait, she insisted that the artist depict her in her 20s. Perhaps more challenging for women than the road to becoming a professional painter was the mastery of sculpture, made more difficult by the physical demands of the medium. Yet Properzia de' Rossi (ca. 1490-1530) established herself as a professional sculptor and was the only woman artist that Vasari included in his Lives. Titian was also a highly esteemed portraitist. More than 50 portraits by his hand survive, reflecting the great demand for his services by wealthy patrons desirous of immortalizing themselves.

Venus of Urbino 1538

Artist-Titian - 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. In 1538, at the height of his powers, Titian painted the so-called Venus of Urbino, probably for Guidobaldo II, who became the duke of Urbino the following year (r. 1539-1574). The title (given to the painting later) elevates to the status of classical mythology what is probably a representation of a sensual Italian woman in her bedchamber. As in other Venetian paintings, color plays a prominent role in Venus of Urbino. The red tones of the matron's skirt and the muted reds of the tapestries against the neutral whites of the matron's sleeves and the kneeling girl's gown echo the deep Venetian reds set off against the pale neutral whites of the linen and the warm ivory gold of the flesh. The viewer must study the picture carefully to realize the subtlety of color planning.

Assumption of the Virgin 1516-1518

Artist-Titian - is a large altarpiece panel painting in oils by the Italian Renaissance artist Titian, painted in 1515-1518. It remains in the position it was designed for, on the high altar of the Basilica di Santa Maria Gloriosa dei Frari or Frari church in Venice. It is the largest altarpiece in the city, with the figures well over life-size, necessitated by the large church, with a considerable distance between the altar and the congregation. It marked a new direction in Titian's style, that reflected his awareness of the developments in High Renaissance painting further south, in Florence and Rome, by artists including Raphael and Michelangelo. The agitated figures of the Apostles marked a break with the usual meditative stillness of saints in Venetian painting, in the tradition of Giovanni Bellini and others.[1] It was perhaps originally rather shocking for the Venetian public, but soon recognised as a masterpiece that confirmed Titian's position as the leading artist in Venice, and one of the most important in all Italy, a rival to Michelangelo and Raphael

Portrait of a Lady 1460

Artist-Van Der Weyden - Sharp, interlocking shapes produce a severe balance of form in this portrait. Notice how the fall of the veil over the sitter's shoulders responds to the V of her neckline, and how her body divides the deep blue-green of the background into framing triangles. The alternation of black and white in her dress, bodice, and veil are relieved only by a red belt (which x-rays show was altered from her original even more slender waist). The shallow planes of her face, painted in a spare, linear manner, are made more abstract by the exaggerated proportions created by then-fashionable plucked brows and hairline. She is defined more by contours than by three-dimensional forms, except in her full, sensual mouth.

Giovanni Arnolfini and His Bride 1434

Artist-Van Eyck - · Jan van Eyck played a major role in establishing portraiture as an important Flemish art form. In this portrait of an Italian financier and his wife, he also portrayed himself in the mirror. Almost every object portrayed carries meaning. The little dog symbolizes fidelity. The bride is not yet pregnant, although the fashionable costume she wears makes her appear so. From the finial hangs a whiskbroom, symbolic of domestic care. The woman stands near the bed and well into the room, whereas the man stands near the open window, symbolic of the outside world.

Mannerism

Artistic movement against the Renaissance ideals of symetry, balance, and simplicity; went against the perfection the High Renaissance created in art. Used elongated proportions, twisted poese and compression of space.

Council of Trent

Called by Pope Paul III to reform the church and secure reconciliation with the Protestants. Lutherans and Calvinists did not attend.

Sacrifice of Isaac 1401-2 Ghiberti

In contrast to Brunelleschi's panel, Ghiberti's entry in the baptistery competition features gracefully posed figures that recall classical statuary. Isaac's altar has a Roman acanthus frieze. Ghiberti emphasized grace and smoothness. In Ghiberti's panel, Abraham appears in a typically Gothic pose with outthrust hip and seems to contemplate the act he is about to perform, even as he draws back his arm to strike.

Gutenberg

Invented the printing press

Chiaroschuro

Italian word meaning light/dark. Dramatic dark and light differences

Sacra Conversazione

Italian, "holy conversation"; a style of altarpiece painting popular after the middle of the 15th century, in which saints from different epochs are joined in a unified space and seem to be conversing either with each other or with the audience.

Iconoclasm

Opposing or even destroying images, especially those set up for religious veneration in the belief that such images represent idol worship.

Poesia

Poetry

Anamorphic

Term used to describe an image that has been optically distorted.

Engraving

The process or art of cutting or carving a design on a hard surface, especially so as to make a print

Sacrifice of Isaac 1401-2 Brunelleschi

Whereas Brunelleschi imbued his image with violent movement and high emotion. Brunelleschi's figures demonstrate his ability to represent faithfully and dramatically all the elements in the biblical narrative.

Predella

a painting or sculpture on the front of a raised shelf above an altar, which typically forms the base for an altarpiece.

Allegory

a story, poem, or picture that can be interpreted to reveal a hidden meaning, typically a moral or political one.

Atmospheric Persective

a technique of rendering depth or distance in painting by modifying the tone or hue and distinctness of objects perceived as receding from the picture plane, especially by reducing distinctive local colors and contrasts of light and dark to a uniform light bluish-gray color.

Wet Drapery

a term used by art historians to describe cloth that appears to cling to the body in animated folds while it reveals the contours of the form beneath

Orthogonals

describes a method for drawing three-dimensional objects with linear perspective. It refers to perspective lines, drawn diagonally along parallel lines that meet at a so-called "vanishing point."

Condottieri

leaders of bands of mercenary soldiers in Renaissance Italy who sold their services to the highest bidder

Polyptych

many-paneled altarpiece

Perspective

point of view

Letterpress

printing from a hard, raised image under pressure, using viscous ink.

Counter-Reformation

the reaction of the Roman Catholic Church to the Reformation reaffirming the veneration of saints and the authority of the Pope (to which Protestants objected)

Sfumato

the technique of allowing tones and colors to shade gradually into one another, producing softened outlines or hazy forms.

Iconography

the visual images and symbols used in a work of art or the study or interpretation of these.