Art history quiz chapter 21

Donatello, David, from the palazzo Medici, Florence Italy ca 1440-1460. Bronze, museo nazionale del bargello, Florence

1, this peice posseses both the relaxed contrapposto and the sensuous beauty of the nude greek gods 2. The artist used classical statuary style for this word

Masaccio, Expulsion of Adam and Eve from eden, mural in the brancacci chapel, Santa Maria del carmine, Florence, Italy, ca 1424-1427, fresco

1. Aden and eve or very emotional in this painting eve Sorrow and Aden shame 2. The foggy background means no locale but suggests a space around and beyond the figures

Lorenzo Ghiberti, isaac and his sons east doors of the baptistery of San Giovanni Florence Italy 1425-1452 gilded bronze, museo dell'opera del duomo, Florence

1. All the tiles on the floor meet on a vanishing point on the central axis of the compostion but the orthogonals of the architecture do not 2. This is an ealry example of linear perspective

Pablo uccello, battle of San Romano, from palazzo Medici, Florence Italy ca 1435-1440. Tempera on wood, national gallery, London

1. In the painting Niccolo da tolentino is leading the charge against the Sienese 2. The foreshortening spears and figures show uccellos fascination with perspective

Andrea del Castagno, last supper, mural in the refectory of the convent of sant'apollonia, Florence, Italy , 1447. Fresco

1. In their mural of the last supper Judas is sitting by himself 2. The set up of the meal reflects the artists preoccupation with the new science of perspective

Pietro della Francesca, resurrection, mural in the palazzo communal, bongo San sepolcro, Italy , ca 1463-1465, fresco

1. In this painting Christ awakens from his tomb while Ramon soldiers sleep 2. We see the framing portic and the soil dears below but also has a head on view of the almost nude Christ 3. There was also a big enfaces on muscles in this image

Piero Della Francesca, flagellation , ca 1455-1465. Oil and tempera on wood galleria nazionale Della marche, urbino

1. In this piece it appears that people are discussing biblical tragedy that was taking place in the palace 2. This was rendered in perfect perspective

Antonio del Pollaiuolo, The Battle of the Nudes, ca 1465. Engraving , metropolitan museum of art, New York

1. Joseph requested that the engraving be put in the metropolitan museum of art in New York in 1917 2. This regrading relies heavily on the muscles of the figures as well as how a human body is moves in action

Domenico Ghirlandaio, birth of the virgin, mural in the cappella maggiore, Santa Maria novella , Florence Italy ca 1485-1490, fresco

1. Marys mother is reclined in a palatial renaissance rooom 2. The room itself fine wood Italy and sculptures, while midwives prepare the infants bath.

Filippo Brunelleschi, interior of San Lorenzo (looking east) Florence Italy ca 1421-1469

1. One of the key elements of the architectural style of the interior is the mathematical clearity and austerity 2. This interior constraint harshly with the drama gothic churches have

Andrea Mantegna, ceiling of the camera picta ( painted chamber), palazzo ducale, mantua, Italy 1465-1474 fresco

1. Something interesting is that usually you are looking at the art but with this piece the art is looking at you 2. This is the first perspective view of a ceiling below

Michelozzo di Bartolommeo, interior court of the palazzo Medici-Ricardian (looking west) Florence Italy begun 1445

1. The palace is surrounded by a round arched colonnade 2. This was the first of its kind

Leon Batista Alberti and Bernardo rossellino , palazzo rucellai (looking west), Florence Italy ca 1452-1470

1. The plaza has the illusion that it is becoming lighter towards the top 2.

Filippo Brunelleschi, interior of the pazzi chapel (looking southwest) adjacent to Santa Croce, Florence Italy begun 1433

1. The trim of the pazzi chapel is grey pietra Serena 2. The gray stand out against the white stuccoed walls and clearly defines the modular relationships be Brunelleschi plan and elevation

Antonio del Pollaiuolo, Hercules and Antaeus, from the palazzo medici, Florence , Italy , ca 1470-1475. Bronze, museo nazionale del bargello, Florence

1. There was great interest in classical culture in the time when this bronze sculpture was made thus the inspiration for this came about 2. This art word showed the stress and strain of the human figure in violent action

Piero della Francesca, Battista Sforza and Federico da Montefeltro, ca 1472-1474. Oil and tempera on wood in modern frame galleria degli uffizi, Florence

1. This art piece don't have its ordinal frame but a new one 2. The back is a landscape of Flemish portraiture

Nanni di Banco, four crowded saints, statues in a niche on the north side of or San Michele, Florence , Italy ca 1410-1414. Marble, figures 6 high modern copy original sculpture in the museum on the second floor of or San Michele, Florence

1. This art work represents the four martyred patron saints of florences sculpture guild 2. Which is an ealt example of renaissance artists attempting to liberate statuary from its architectural setting

Filipino Brunelleschi, sacrifice of Isaac, competition panel for the east doors of the baptistery of San Giovanni, Florence, Italy, 1401-1402. Gilded bronz, museo nazionale del bargello, Florence

1. This bronz peice is on the front of florentine baptistery 2. It show a paniced angel about to stop an emotional lunging abraham clothed in gothic robes

Michelozzo di Bartolommeo, Palazzo Medici-Riccardi, Florence, begun 14451

1. This building is both dressed and rusticated mason art and classical moldings 2. The architect is like Roman architecture

Palazzo contarini (ca d'oro; looking northwest) Venice Italy 1412-1437

1. This building is named house of gold 2. It displays the Venetian taste for flowery painted and gilded gothic ornamentation

Filipino Brunelleschi, loggia of the ospedale degli innocenti , Florence Italy begun 1419

1. This building is often called the first example of renaissance architecture 2. The building features a classical austere design based on a model of 10 breccia

Leon Batista Alberti, west facade of Sant'Andrea , mantua, Italy designed 1470, begun 1474

1. This building reflects the artists study of ancient Roman architecture 2. It employs the colossal orders the architect combined a triumphal arch and a Roman temple front with pediment

Filippo Brunelleschi, west facade of the pazzi chapel, adjacent to Santa Croce , Florence Italy , begun 1433

1. This chapel was a gift to the Franciscan church of Santa Croce 2. It served as the monks chapter house and is one of the first I depended renaissance central-plan buildings

Leon Batista Alberti , interior of Sant'Andrea (looking east) mantua, Italy designed 1470, begun 1472

1. This interior abandoned the traditional columnar arcade 2. The facade pilasters as part of the wall run uninterrupted thru 3 stores in an early application of the colossal order.

Donatello, Saint George and the dragon, relief below the niche with the statue of Saint George , or San Michele, Florence Italy ca 14-1420 marble modern copy , original relief in the museo nazionale del bargello, Florence

1. This is a copy the real one is in the museo nazionale del bargello, florence 2. This releif marks a turning point in renaissance sculpture.

Giovanni Bellini, Saint Francis in the desert, ca 1477-1479. Oil and tempera on wood, frick collection, New York (Henry clay frick bequest)

1. This is a depiction of Saint Francis communing with God in a landscape 2. It is also filled with references to the crucifixion and Moses.

Lorenzo Ghiberti, east doors of the baptistery of San Giovanni Florence Italy 1425-1452. Gilded bronze modern replica 1990 original panels in museo dell'opera del duomo,Florence

1. This is a replica of the orinal which is in the museo dell'opera del duomo, florence 2. Most of the panels made in this day where made with gothic quatrefoil frames but this one is made of painterly illusionistic devices

Donatello, saint mark, statue in. A niche on the south side of or San Michele,Florence , Italy ,, ca 1411-1413 marble, modern copy original sculpture in the museum on the second floor of or San Michele, Florence

1. This is actualy a modern day copy of the orinal that is in the musum on the second floor 2. This stature was made for linen makers and tailors.

Donatello, Saint George, statue in a niche on the north side or San Michele, Florence , Italy ca 1415-1418 marble modern copy, original is in the museo nazionale del bargello, Florence

1. This is acually a copy, the oriinal is in the musium museo nazionale del bargello, florence. 2. This statue is a guide for armorers

Masaccio, hoy trinity, mural inside Santa Maria novella, Florence, Italy ca 1424-1427, fresco

1. This mural is the premier early - 15th century example of the application of mathematics to the depictions of space accounting to Filipino Brunelleschi system of perspective 2. It is very interesting how the artist has both death (the Skelton ) and hope (Jesus ) in the same mural a very interesting way of saying what you believe

Andrea Mantegna, foreshortened Christ (lamentation over the death of Christ ) ca 1500 tempera on canvas pinacoteca di Brera , Milan

1. This paining shows great pain that death brings 2. This paining is of the pain of Christ's death

Domenico Ghirlandaio, Giovanna Tornabuoni, 1488. Oil on wood and tempera on wood , museo thyssenboremisza Madrid

1. This painting has the ancient art of portraiture 2. This portrait reveals wealth , manners and humanistic interest in classical literature the many 15th century Florentine art has .

Sandro Botticelli, Primavera (spring) ca tempera on wood . Galleria degli uffizi, Florence

1. This painting is deliberating love in the springtime 2. The blue , zephyrus , the west wind, carries off the marries the nymph chloride , who he transforms into flora, goaded of spring

Far Filipino lippi, madonna and child with angles , ca 1460-1465. Tempera on wood , galleria degli uffizi, Florence.

1. This painting represents the madonna and Jesus in a distinctly worldly manner. 2. This painting also humanizes the holy family more then any other painting had before it

Masaccio, Tribute Money, mural in the brancacci chapel, Santa Maria del carmine, Florence, Italy ca , 1424-1427. Fresco

1. This paintings color as made with the light source coming from outside the picture 2. Unlike most of the words we have seen this is the first time i have seen pink or any light blues in any painting

Lorenzo Ghiberti, Sacrifice of Isaac, competition panel for the east doors of the baptistery of San Giovanni, Florence, Italy, 1401-1402. Gilded bronze, museo nazionale del bargello, Florence

1. This peice has 2.the bronz peice is on the front of the florentine baptistery eligntly placed figures that recall statuary

Donatello,feast of Herod, panel on the baptismal font of the baptistery, Siena cathedral, Siena, Italy 1423-1427. Gilded bronze,

1. This peice marks the indroduction of rationalized perspective in space in renaissance relif scultures 2. Two arched courtyards of diminishing size open the space of the action into the distence

Luca Signorelli, Damned Cast into Hell, San Brizio Chapel, Orvieto Cathedral, 1499-1504, fresco

1. This piece displays great enfaces on muscles 2. This piece is showing demons torturing people in hell

Donatello, Gattamelata, piazza del santo, Padua, Italy ca 1445-1453. Bronze.

1. This piece signifies strength 2. This piece based off of a Venetian general on a horse but really it is supposed to be a Roman emperor

Andrea del Verrocchio, Bartolommeo Colleoni, campo dei santi giovanni e pallor, Venice, Italy, bronze

1. This piece was made because Bartolommeo got jealous over Donatello's bronze equestrian statue and made one himself 2. This piece is much more detailed then Donatello's with the hoses muscles and skin creases and the main being longer and more detailed

Andrea del verrocchio, David, from the palazzo Della signoria, Florence, Italy,ca 1465-1470. Bronze, nazionale del bargello, Florence

1. This piece was made for the Medici, 2. Displays a strong confidence

far Angelico, annunciation, mural in the monks quarters, San Marco, Florence Italy , fresco

1. This piece was painting for the Dominican monks of San Marco 2. This art work is very clear which befits the fresco's function as a devotional image

Pietro Lombardo , tomb of doge pietro mocenigo, inside santi giovanni e paolo, Venice, 1476-1480

1. This tomb is of conquering warriors 2. It also incorporates both Christian and classical mythological themes

Gentile del fabriano, adoration of the magi, altarpiece from the strong chapel, Santa trinita, Florence , Italy , 1423. Tempera on wood, galleria degli uffizi, Florence

1. This word has many naturalistic deals and late medieval work in color, costume, and framing ornamentation 2. Unlike most of the paints we saw in the firs 2 chapter this piece ha more muted colors and a darker background unlike most of the works before that had gold backgrounds

Bernardo Rossellino - "Tomb of Leonardo Bruni", inside Santa Croce,Florence Italy ca 1444-1450. Marble

1.this is rossellino's tomb in honor of the humanist scholar and chancellor Leonardo Brunei puts together ancient Roman and Christian motifs 2. It also forms the pattern for renaissance wall tombs

Andrea Mantegna, interior of the camera Picta (painted chamber) palazzo ducale, mantua, Italy 1465-1474 fresco

1.this is the first completely consistent illusionistic decoration of an entire room 2. This interior took 9 years to finish