Cosmo Rena test 2 content

Monogrammist IS or SL, drawing for Fugger chapel, Augsburg, 1530-40 (copied from lost plans dating from 1506-7)

Welsch- Italianate style of German sculpture between 1510 and 1580 (describes a foreign style of sculpture, gives it an othering effect) North Italianate from the German perspective

Hans Burgkmair, Maximilian I, chiaroscuro woodcut from two blocks on red tinted paper, 1508

so red created with multiple wood blocks, ones for color chiaroscuro woodcut

Antonello da Messina, St. Jerome in his Study, oil on panel, 1450-55 (18 x 14")

-accredited with introduction of oil paint into italy(it was actually Bellini) but his works more closely resemble a mashup of northern and southern renaissance art -st jerome is the man, translates the bible -house frames the study, symbolic for how he spent his time translating bible -italian tiles on floor and colonnades in background but northern illumination of room(light enters thru window) shaped by light

Giorgione, The Tempest, 1505-10, oil on canvas (30.25 x 28.75", Accademia, Venice)

-ambiguous subject matter, subjects blend in and seem unimportant -landscape central focus-stormy moody sky -weird power dynamic, she is naked feeding dababy and he is fully clothed watching???? -weather and mood -tension build -moves away from purely religious commissions

Gentile Bellini, Procession of the Relic of the True Cross, oil on canvas (transferred from panel), 1496

-architecture very detailed, san marco in venice -religious orderly procession, shows members of the confraternity, -vocational portrait as well as religious -highly detailed documentation of the architecture, the people, the dress, etc.

Gentile Bellini, St. Mark Preaching in Alexandria, oil on canvas, 1504-7 (finished after his death in 1507 by brother Giovanni)

-devoted to body of st mark -attempt at a historical scene where st mark preaches (Bellini uses his experience in Constantinople to better depict oriental motifs and people, clothes(turbans) and exotic patterns- he was probably the optimal choice for this at the time) creates a christian and ottoman mashup -anachronistic painting-brothers of confraternity presented here -suggesting a presentness of the past in the painting -headdress and clothes dress were distinct markers for cultural differences(animals as well, camels/giraffes- obelisks also foreign) -artist depicted in red dress with honorary necklace(bottom left)

Hans Daucher, Corpus Christi group, Fugger Chapel, Skt. Anna, Augsburg, limestone, 1518

-draws similariies to the entombment, roger van dier weydon and fra angelicos -(mary, John the evangelist, )figures are supporting body of christ in a graceful/displayie kinda way -tilt of head is germanic thing -dress is silky and thin, drapery that is very italianate, classical period esque.

Albrecht Dürer, "Three Orientals," pen, black and brown ink with watercolor, 1494-5 (1514 date on watercolor)

-learning about the cultural differences in dress, learns from Bellini -funny mustache not present in Bellini, dark-skinned character not present in Bellini's work->shows a greater interest in cultural differences

Albrecht Dürer, Feast of the Rose garlands, oil on panel, 1506

-learns from Venetian painting, but ppl want mostly prints during this time -largescale altar painting -Bellini loved little cherubs playing flutes, so Durer uses this as well

Giovanni Bellini, St. Francis in Ecstasy, oil and tempera on panel, 1470s

-moving towards something that can function as a landscape -unrealistic rock formations -outside setting correlates to st francis who loved animals and nature -signed name on illusionistic paper -the atmosphere goes crazy here, illuminated to feel like morning

Albrecht Dürer, Joachim and the Angel, from Life of the Virgin series, woodcut, 1503-4

-out of a series of prints -important intervention in the art of printmaking, -printed in nuremberg

Hans Daucher, Putti, Fugger chapel, Skt. Anna, Augsburg, marble, c. 1518

-series of putto lamenting the passage of fugger souls -little free standing sculptures -they have little personalities/poses(lament, sad, sleepy) -a venetian elements, motifs that are al antiqua(reminisces the classical period)(pagan

Dürer, Mill and landscape (Wire drawing mill), water color & gouache, 1494

-thought to be one of his first watercolors -early signs of industry in Nuremberg

Gentile Bellini, Sultan Mehmet II, 1480, oil on canvas

Sultan expanded Ottoman empire and declared himself "Roman Caeser", wanted assimilation between Arabs and Christian noticed Venice use of oil paints and portraiture, Bellini introduced these to the Eastern empire ALLA FIAMINGA elements- attention to detail, sitting for portraiture, the jewels and ornateness of the blanket rug thing VENETIAN element- the portal in which he sits under, mimics italian portals in duomos/cathedrals IMPERIAL PORTRAITURE, cooked up a novel version of traditional imperial portraiture

Andrea Mantegna, Battle of the Sea Gods, engraving, 1493

densely hatched areas to create tonal differences more emphasis on contour than Durer sculptural quality to hair, formulaic greek sculptural approach to art

Giovanni Bellini, Madonna & Child with Doge Agostino Barbarigo & Saints, Barbarigo Altarpiece, oil on canvas, 1488

aemulatio- to emulate but then take a step further by perfecting

Giovanni Bellini, Dead Christ Supported by Angels, tempera on panel, 1474

again holding the body of christ in a very decorative way radical only because its a free standing sculpture

Hans Burgkmair, Maximilian on horseback, woodcut, 1508

architecture of the frame of frari altarpiece looks like the arch motif here -roots in italian painting(patterned floor, ornamental motif, background references welsch element but maximillion looks medieval in his armour/getup)

Hans Burgkmair, Esther and Ahasuerus, oil on panel, 1528, and detail

carves out a built environment and uber elaborate and exotic scenes -italianate architecture -documents king of persia

Hans Burgkmair, St. George and the Dragon, chiaroscuro woodcut, 1508

chiaroscuro woodcut carta azzura- paper that was used by artists who were drawing on it in order to give the paper tint(literally just ancient strathmore grey toned paper)

Carlo Crivelli, Annunciation, oil on panel, 1486

esther and ahasuerus took inspiration from this work that used a deep architectural structure and highly decorated and exotic appearance and crowded space serve to fill up all the space illusionistic perspective here

Anonymous south German artist, Vespucci broadsheet with Brazilian Tupinambas (Augsburg, Germany: Johann Froschauer, 1505)

hand colored single sheet block -caption reads a quotation from a letter from vespucci about his voyage to Brazil -reference to cannibalism -early instance of "primal art" colonizers appropriating artistic images/styles based on perceptions of "the other". racist -racial sterotyping

Hans Burgkmair, Virgin and Child with a Round Arch, hand-colored woodcut, 1508

hand colored resembles chiaroscuro print

Marcantonio Raimondi, Glorification of the Virgin, engraving, after 1506

imitatio again -council of Nüremburg put out a threat/message against copying the works of Albert Dürer

Designs by Hans Burgkmair and Sebastian Loscher, Fugger funerary chapel, in Skt. Anna, Augsburg, 1508-1518

italian(repeating arches, patterned stone and marble and palster, roundals repeated, use of ballistrade, figures on the ballistrade, marble flooring) and exotic elements (fugger paneling and rosettes associated with fugger family) -flooded with light, offers a break from the gothic architecture that was popular at the time

Albrecht Dürer, Battle of the Sea Gods, pen & brown ink, 1494

mantegna introduces Durer to new narrative scenes a pen study of Mantegna, attempt to learn about underlying form and musculature

Hans Burgkmair, Peoples of Africa and India, woodcut frieze, 1508

meant to function as a single document stereotyped images of foreigners

Dürer, Self-portrait, oil on panel, 1500

mirror very proportionate black background similar to a vera icon or a Memling's portrait of Maria Baroncelli and Tomasso Portinari

Hans Daucher, The Virgin & Child with Angels & Putti, limestone relief, 1520

putti. became kische

Gentile Bellini, Procession of the Relic of the True Cross, oil on canvas, finished in 1496 (10.7 x 14')

repeat -relic of true cross given to st mark in 13th century -a relic that founded the church is this a religious painting or just a panoramic of the city,(San Marco) a representation of daily life at the time., probably both?? -focuses on architecture and infrastructure of san marco at the time but u cannot do so without the inclusion of religious elements,

Marcantonio Raimondi, Joachim and the Angel, engraved copy of Dürer's woodcut from Life of the Virgin, showing false monogram, c. 1506

replica- included Dürer monograms on it rip-off copied multiple of Dürers work imitatio/aemulatio in order to learn?-seems different than this example, almost exactly the same not imitating some elements

Giovanni Bellini, Madonna of the Meadow, oil on panel, 1505

triangular arrangement flat backdrop bellini more concerned with background(paintings foreground organized around the background) non-typical scene the background land is being worked by animals and people, many distractions -religious oil paintings are gradually commiting to this new outdoor setting(much more distracting, may things going on)

Titian, Pastoral Concert, 1508-10, oil on canvas (43.25 x 54.25, Louvre)

unclad -not rlly a portrait-bathed in darkness, faced away -they're playing lutes and flutes -women r naked men r clothed, again with the weird power dynamic -evokes music and sound and rhythm and dance -poetry in nature

Albrecht Dürer, Nuremberg and Venetian Costumes, pen and brown ink, 1495

venetian courtesan-old timey wh-re(upper class) -immodest open neckline and push-up bra effect and cinched waist. her posture looks like a shrimp