ARTH 26 mid-term (saddleback)

Leon Battista Alberti

(1404-1472) was an architect and writer who first formulates rules that artist could follow to create perspectival work. He imagined the picture surface as am "open window" through which a painted world could be seen. Showed how a perspective "checkerboard pavement" is created within the picture space- in which the receding parallel lines represent the visual rays connecting the spectator's eye to spot in the distance

Indulgences

"As soon as the coin in the coffer rings, the soul from purgatory springs." "Won't you part with a farthing to buy this letter? It will not bring you money but rather a divine and immortal soul , secure in the kingdom of heaven." Johannes Tetzel

Filippo Brunelleschi

(1377-1446) formulated the first laws of linear perspective

Masaccio

(1401-28), Trinity With the Virgin, Saint John the Evangelist and Donors, Santa Maria Novella, Florence, c. 1428 also created the Dom First artist to use Brunelleschi's system of perspective

lost-wax casting

A casting process for which a sculptor must first produce his sculpture in wax. He creates a mold around this made of refractory materials (resistant to high heat). When the mold is heated, the wax melts away, so that molten metal can replace it, reproducing exactly the original wax sculpture. Also known by the French term cire-perdue

Baroque Art

A movement characterized by dramatic expression, theatrical spectacle, illusions of motion, and spatial grandeur. It became the hallmark of an age of exuberant expansion.

Jan Van Eyck, The Ghent Altarpiece, c. 1425-32

Considered one of the most important works in the history of art

_______ was a vehicle to imagine the perfection of the heavens.

Geometry

Martin Luther and the Protestant Reformation

No need for professional intermediaries (priests, confessors, etc) between the individual and God Translations of the Bible into the vernacular Lay communion Conviction that every profession is a religious "calling," not just the priesthood and monasticism

Scientific Revolution

Occurred in Europe between approximately 1600-1750 Owed much to a long history of science and technology that dated back to ancient Egypt, China, and Islam Despite Church opposition, the invention of new instruments to more precisely measure natural phenomena promoted the belief that science existed separately and apart from divine power and authority Galileo: Perfected the telescope that was invented by a Dutch lensmaker Dutch interest in lenses and telescopes had a profound impact on the visual arts Seventeenth century Western scientists investigated the workings of the human eye, advancing the science of optics beyond the frontiers of previous scholarship New science engendered a spirit of objective inquiry and had a profound impact on the visual arts

Michelangelo, Pieta, c. 1498-1500

Singed this work of art because no one believed his did it first time done in the time

Ut Pictura Poesis

(As a painting, so a poem) Painters and sculptors argued that they stood equal to poets; poetry and rhetoric were accepted as liberal arts. Part of the basis for this claim was the notion that a painting and poetry were "sister arts," a concept the Renaissance developed from Horace's "Ut Pictura Poesis." It is through this association with poets that the concept of artist as we know it begins to emerge. The revival of Plato and Platonism helped to spread the notion of the divine inspiration of the poet, which Plato compared with that of the religious prophet. According to Plato, poets, musicians, prophets were divinely inspired. It was at this time that artists such as Michelangelo began to be described by their contemporaries as "divine." In the 16th century the new image emerges of the artist as a genius. A painting or a piece of sculpture came to be seen not as merely the product or creation of a painter or sculptor, but as containing within it divine inspiration. The term "grazia" (or grace) was used to define this something extra, this special quality of divinely inspired genius in a work of art.

The camera obscura

(Latin for "dark room"; "darkened chamber") is an optical device that projects an image of its surroundings on a screen. It is used in drawing and for entertainment, and was one of the inventions that led to photography. The device consists of a box or room with a hole in one side. Light from an external scene passes through the hole and strikes a surface inside where it is reproduced, upside-down, but with color and perspective preserved. The image can be projected onto paper, and can then be traced to produce a highly accurate representation.

Cennino Cennini's Il Libro dell'Arte

(The Handbook of the Crafts) was a compendium of early fifteenth century Florentine artistic techniques, including step by step instructions for making panel paintings. In order to paint on the panel a "gesso" (a kind of plaster) would be applied.

Counter Reformation

16th-century reformation that arose largely in answer to the Protestant Reformation. It was led by conservative forces whose aim was both to reform the church and to secure its traditions against the innovations of Protestant theology and against the more liberalizing effects of the Renaissance.

could not refuse the Pope's offer to paint the ceiling, despite his inexperience working in fresco. The ceiling depicts scenes from the old Testament and the prophets who foretell the coming of Jesus.

-Michelangelo The project was physically and emotionally torturous for Michelangelo. Michelangelo recounts its effect on him with these words: "After four tortured years, more than 400 over life-sized figures, I felt as old and as weary as Jeremiah. I was only 37, yet friends did not recognize the old man I had become."

Johannes Vermeer

Apprenticed to a master, but who that was is unclear Member of the St. Lukes Guild in Delft Was forgotten almost immediately after his death and not "rediscovered until the 19th century"

Medieval View of Humanity

Art deemphasized this world and emphasized the heavenly truth Man was "small" (think about the size of gothic churches) Residual Paganism-man was a victim of unseen forces Monastic Scholasticism-man has a fixed place in the universe

Gian Lorenzo

At the age of 8 he was taken by his father to Rome, where they were awarded an audience with Pope Paul V who, according to legend, declared the boy the next Michelangelo. Bernini had already established himself as a prodigious artist by his late teens, when he received his first major commissions from rapacious art lover Cardinal Scipione Borghese. The early works executed for the Cardinal won Bernini such acclaim that praise and accolades began to pour in. In 1621, Bernini was knighted, and in 1629, he was named the Official Architect of Saint Peters, one of the highest honors an artist could wish for. The artist frequented papal and royal circles, and was fervently admired even outside of Italy.

Bernini, Apollo and Daphne, c. 1622-25

Bernini was a virtuoso who turned stone into flesh Senses of movement and motion in a still art

Rembrandt (1606-69)

Born in Leiden and studies at the University of Leiden Goes to Amsterdam in 1624 for additional training to returns to Leiden to set up an independent painting studio Did not go to Italy to study Moves back to Amsterdam in 1631, falls in love and marries his first wife Saskia in 1634. Over the next three years she has three children but all die. Only surviving son Titus is born in 1641 and Saskia dies in 1642 Meets Henrijke Stoffels and lives with her (according to Saskia's will he would lose his inheritance if he remarried). Files for bankruptcy in 1656. He is forced to sell all of his belongings and his house Saskia dies in 1663

Venice

By the 1400s, was one of the most powerful city-states in Italy. It was one of Europe's principal commercial ports, and with a population of 100,000 was one of its largest cities. Venice was a cosmopolitan center and home to colonies of Germans, Greeks, Slavs, Jews, Turks, and Armenians. Traders from all over the world did deals in the business quarter near by the Rialto bridge. The great piazza in front of the city's main church, San Marco, and the government offices, the Doge's Palace, was the focus of Venice's political life and provided the setting for elaborate processions in celebration of state and religious festivals.

Parmigianino (1503-40), Madonna With The Long Neck, c. 1534-40

No interest in symmetry, harmony, or perfection of the human body. Proportions are incorrect for this time period

Renaissance

Designates that period in European history roughly between 1300-1600 during which the revival of classical humanism spread from its birthplace in Florence throughout Western Europe. Artists sought to observe and represent the material world. They and their patrons were guided by a new emphasis on the humanist secular thinking that placed values on science, reason, and the individual over intangible religious mysticism. Humanist patrons and artist wanted to see themselves and their possessions depicted realistically and placed in the cities and countryside where they played, fought and died. The pursuit of money and leisure, rather than a preoccupation with feudal obligations marked the lifestyle of merchants and artisans who lived in the bustling city-states of Italy. Old medieval values no longer made sense, while those of pre-Christian antiquity seemed more compatible with the secular interests and ambitions of the rising middle class.

Albrecht Durer

Durer is known for his woodcuts. Goes to Italy and gets the ideas of wood cuts there It is possible to do this because of the printing press

Mannerism

Emerged in Italy during the 16th century It often reveals itself in imbalanced compositions, ambiguous spaces, bodies with distorted proportions and contorted poses, and departures from expected conventions After Rome was sacked in the 15th century

Florence Cathedral

Filippo Brunelleschi (1377-1446) Built without wooden centering Hollow inside and conceived as a double shell Dome is NOT hemispherical Brunelleschi designed all of the machinery to build the dome Bricks are laid in a herringbone pattern

Donatello (1386-1466), David, c. 1430s

First large scale lost-wax bronze since antiquity. Commissioned by the Medici for their private home.

Cimabue

First major painter in Florence

Michelangelo

In 1488, at the age of 13, He was apprenticed to Ghirlandaio. The next year, his father persuaded Ghirlandaio to pay him, as an artist, which was rare for someone of fourteen. When in 1489, Lorenzo de' Medici, de facto ruler of Florence, asked Ghirlandaio for his two best pupils, Ghirlandaio sent him and Francesco Granacci. From 1490 to 1492, He attended the Humanist academy that the Medici had founded along Neo-Platonic lines. At the academy, both his outlook and his art were subject to the influence of many of the most prominent philosophers and writers of the day, including Marsilio Ficino, Pico della Mirandola and Poliziano.

Buon Fresco Technique

In true fresco the artist must start applying his colors on the wet intonaco (painting plaster layer) as soon as it has been prepared and laid on the wall. The colors can thus be absorbed by the wet plaster. When it dries and hardens, the colors become one with plaster. Technically speaking the plaster does not "dry" but rather a chemical reaction occurs in which calcium carbonate is formed as a result of carbon dioxide from the air combining with the calcium hydrate in the wet plaster.

Arnolfini Wedding Portrait, c. 1432

Jan Van Eyck (was a wedding photo,maybe?)

The plans for St. Peter's change from a Greek cross to a..........

Latin cross. To allow for the extra space need for the pilgrims

The Last Supper

Leonardo da Vinci 1495-98 Commissioned by the Duke of Milan for whom Leonardo worked for nearly 15 years. He is first hired as a "producer" of pageants. Experimented with a combination of oil paint and tempera

During the early renaissance period oil painting was used first by the

Netherlandish painters and was eventually taken up by their counterparts in Italy.

Judith Leyster

One of the few woman in the painter's guild in Haarlem

Renaissance Patrons

One of the most forceful myths of the Renaissance is the idea that its artists freely explored their ideas and created their masterpieces for enlightened patrons eager to acquire these works of genius. It was the patron who initiated the architecture, sculpture, and painting of the period, and he played a significant part in determining its form and content. Fifteenth-century patrons were not passive connoisseurs, but active consumers. In the 15th century, it was the patrons, not the artist who was seen by his contemporaries as the creator of his project and thus gave him the strongest possible motive for controlling its final appearance. The belief that conspicuous expenditure was the principal element in the display of status was firmly established in the 15th century Europe, and architecture, sculpture, and painting were seen as potent tools in the fabrication of wealth and power. Renaissance patrons knew the value of the arts in propaganda. Given the importance of art in the creation of images for the Renaissance patrons, it is not surprising to find that they kept careful control of the craftsmen who carried out their commissions. Some rulers employed court craftsmen, paying them regular salaries and rewarding them with living accommodations. But most 15th century artists were self-employed, and their relationships with patrons were formalized with legal contracts. By 1500, a good painter was not just skilled at his craft; he bought an additional creative and personal talent to his work.

Bronzino, Allegory of Venus, c. 1546

Painted as a private commission. Meaning of the work continues to be unclear.

Hieronymus Bosch, The Garden of Earthly Delights, c. 1510

Painted at the same moment as the High Renaissance in Italy Painted at the same time a raffle and how different it is

Early Renaissance in Northern Europe

Rebirth of classical values emerged more slowly Inevitably, trade and commerce brought Italian ideas to the north, where they influenced classical traditions. As trade grew, it brought prosperity to an ever more influential middle class, who soon became the most important patrons of their day. Medici founded a branch of their bank in Bruges

consistent, they used oak panels (or other timbers) with smooth, white chalk grounds. A detailed under drawing was then added and usually made none absorbent by the application of a drying oil.

The Northern painters preparation was.......

Botticelli

The artist does not employ perspective Instead of blurring the edges of the figures he employs strong outlines Violates the classical rules of proportion Trained as a goldsmith and therefore was a meticulous draftsman Cult of Venus develops during this period He is largely ignored during the last part of his life Dies poor and alone. Created the FLORENCE CATHEDRAL dome. painted Primavera sometime between 1477 and 1482, probably for the marriage of Lorenzo di Pierfrancesco, cousin of the powerful Italian statesman (and important patron of the arts) Lorenzo Medici. The date is just one of the many facts surrounding the painting that remain unclear. Its original title is unknown; it was first called La Primavera by the artist/art historian Giorgio Vasari, who only saw it some 70 years after it was painted. While it's generally agreed that on one level Primavera depicts themes of love and marriage, sensuality and fertility, the work's precise meaning continues to be debated

Artists in the Renaissance

The period of the Renaissance brought with it many important changes in the social and cultural position of the artist. Over the course of the period, there is a steady rise in the status of the painter, sculptor, and architect and a growing sympathy expressed for the visual arts. Painters and sculptors made a concerted effort to extricate themselves from their medieval heritage and to distinguish themselves from mere craftsmen. At the beginning of the Renaissance, painters, and sculptors were still regarded as members of the artisan class and occupied a low rung on the social ladder. A shift begins to occur in the 14th century when painting, sculpture, and architecture began to form a group separate from the mechanical arts. In the 15th century, the training of a painter was expected to include knowledge of mathematical perspective, optics, geometry, and anatomy. A major development in the Renaissance is the new emphasis on the realistic depiction of figures and objects in painting and sculpture. The knowledge and use of scientific methods placed painting and sculpture on a new basis that was intellectual, theoretical, literary and scientific.

Renaissance Guilds

The structured organization of economic activity during the 14th century, when Italy had established a thriving international trade and held commanding position in the Mediterranean world, extended to many trades and professions. Guilds, associations of master craftspeople, apprentices, and tradespeople which emerged the 12th century became prominent. These associations not only protected each others interests against external pressure, such as taxation, but also provided them with the means to regulate their internal operations. Guilds, although primarily economic commercial organizations, contributed to their city's religious and artistic life by subsidizing the building and decoration of numerous churches and hospitals.

Ghiberti was victorious. Ultimately he would sculpt two sets of doors, spending nearly 50 years on the project. Ghiberti's technical skill in the use of perspective developed as he worked on the doors.

The winning panel for the commission of the doors of the Baptistery in Florence that was narrowed down to Ghiberti and Brunelleschi. Who won?

Matthias Grunewald (c. 1480-1528), Isenheim Altarpiece, c. 1510-15

This is a stunning, harrowing depiction of Christ—completely unlike what is seen in the South. Was painted for a hospital for skin Dessies Showing that everyone is able to receive salvation

Titian, Venus of Urbino, c. 1538-9

This work becomes the "gold standard" for female nudes.

Pouncing

Transfer process in which powder or dust is rubbed through a pricked.

Bernini, David, 1623

Use of implied motion.

Venetian artists

are known for their use of oil painting and their love of color. The climate is damp and humid so the preference for wood and canvas with oil paintings first oils pantings were done in the north

Caravaggio

brought the spiritual world into the everyday world. Take the sipratial world and brings it down to reality Uses the Dif between light and dark

The Pastoral Concert

exemplifies a distinctly Venetian invention focused on the idyllic landscape populated by gods and goddess, nymphs and satyrs, shepherds and peasants. Introduced by Giorgione and developed in the works of Titian and other Venetian artists, this genre became one of the most important artistic contributions of Renaissance Venice—its impact lasting far into the 19th century. In its conception, it reflects the dictum "ut picture poesis" (as is poetry so is painting)—a central principle in Renaissance art theory, upheld by artists as evidence of the intellectual status of their art. The comparison with poetry placed emphasis not on painting's manual production, but on the conceptual activity of the artist's mind.

Michelangelo Buonarroti (1475-1564), David

he looks back to antique statuary that he would have known through the Medici collection.

Giotto

he revolutionized the art of Florence. His art emphasized clarity, measure, balance, and careful observation of nature. It was him who, for the first time since antiquity, struggled with creating the illusion of solid bodies moving through space. The perfect circle - O

italian renaissance art

ideal body simplified forms, measured perpotions religious and mythical themes heroic male nudes fresco, tampera, and oil paintings static blanced

Northern Renaissance art

intense realism life like features, unflattering religious and domestic scenes prosperous citizens and peasants oil paintings on wood panels complex, irregular

Fresco-secco (or a secco or fresco finto)

is a fresco painting technique in which colors are applied to dry plaster that has been moistened to simulate fresh plaster. In true fresco (buon fresco), the plaster is still fresh and has not dried when the watercolors are introduced.

Vermeer

is a painter of interiors.

School of Athens

is one of a series of four frescoes painted by Raphael representing branches of knowledge. The frescoes, located on the walls of the Stanza, include images descriptive of philosophy, poetry, law, and theology. It is dedicated to philosophy as a path to knowledge, especially related to understanding causes to drive knowledge. All of the philosophers shown in the fresco traditionally sought knowledge through an understanding of root causes, tying back to the title and theme of the fresco. The overall theme of knowledge is integrated through Raphael's frescos around the room but it is considered the best of the series.

Julius II

is remembered more for his patronage of the arts -- including commissioning Michelangelo to paint the ceiling of the Sistine Chapel -- than for his theological impact on the Catholic church. A member of the Franciscan order, his career was significantly boosted when his uncle was elected as Pope Sixtus IV (1471). Under Sixtus, Giuliano led an army into Umbria and fought to extend the reach of the papacy, making no secret of his ambitions to become pope. Giuliano finally succeeded to the papal throne as his name on 28 November 1503 (not without resorting to bribery, it is said). As pope, Julius continued to extend papal authority and the temporal power of the church, with particular designs on Venice and France. He became a great patron of the arts, including commissioning Raphael, Donato Bramante (who began the rebuilding of St. Peter's) and Michelangelo, who he hired (or bullied, some say) to paint the ceiling of the Sistine Chapel in 1508. Notoriously self-indulgent and cantankerous -- he reportedly used a cane to whack insubordinates -- Julius II led a flurry of rebuilding and artistic achievement in Rome not seen since ancient times.

Donato Bramante

is the fist architect to design the st. Peters

The Baldacchino

is the focal point of St. Peter's, marking the spot where the Pope says mass and where the bones of St. Peter are buried. It took Bernini ten years to complete and was cast in the lost wax method The bronze was harvested from the Pantheon It is a monument not only to St. Peter, but to the Pope who commissioned it

Chiaroscuro

is the method of applying value to a two-dimensional artwork to create the illusion of a three-dimensional solid form. The illusion of depth and solidity in two dimensions can be achieved by using an approach devised by artists of the Italian Renaissance. By using a sphere as their model, Renaissance artists identified five distinct areas of light and shadow. A highlight marks the point where the object is most directly lit. This is most often depicted as a bright white. From the highlight, moving toward the shadow, progressively less light is cast on the object until the point is reached where the object faces away from the light.

Renaissance culture

promoted the notion of individual genius by encouraging competitions among artists for prestigious public and religious commissions.

Titian

started his artistic training in the workshop Giovanni Bellini, which at that time was the most important in Venice. However, it was through contact with Giorgione, who had also previously trained in Giovanni Bellini's workshop, that he mainly developed his early style. The Giorgionesque appearance of his early work, which is characterised by a pastoral mood, is proof of their closeness. After Giorgione's death in 1510, he launched his independent career in Venice. He was now left without rivals among his generation who could compete at his level.

Michelangelo's

temper was proverbial. It seems that Pope Julius II had told Sebastiano del Piombo that he "is Terrible, as you see, you can do nothing with him." In fact all the sources refer to his brusque and rude manners, his difficult character, his touchiness and intransigence, and the difficulties that he often had in his relations with others. He had no pupils, nor constant collaborators, and always used boys from the workshop as his assistants.

The most extraordinary aspect of the Dutch Golden Age was

the widespread ownership of paintings. It is estimated that in the mid-17th century, two-thirds of the population of the town of Delft lived in households with paintings on the walls. The surge in both the the demand and supply created a dynamic Dutch art market that differed fundamentally from the art markets of previous periods, especially in Italy, which had been dominated by patronage. Paintings were routinely sold at auctions. We find the rise of dealers. It is estimated that Dutch painters produced more than five million paintings in the 17th century. It was not uncommon for a wealthy family to own between 150-200 paintings.

Bernini

turns a spiritual transformation into a physical reality.

Medici Family

was a powerful and influential Florentine family from the thirteenth to seventeenth century closely associated with the Renaissance and cultural and artistic revival during this period. The family produced three popes (Leo X, Clement VII, and Leo XI), numerous rulers of Florence (notably Lorenzo il Magnifico).

Raphael, born Raffaello Sanzio

was crowned the "Prince of Painters" by Giorgio Vasari, a sixteenth-century biographer of artists. By the age of twenty-one, he had moved to Florence, where he embraced the works of Michelangelo and Leonardo da Vinci. In Florence, his many paintings of the Madonna and Child display his characteristic human warmth, serenity, and sublimely perfect figures. His art epitomized the High Renaissance qualities of harmony and ideal beauty. In four years Raphael's fame led to a summons to Rome from Pope Julius II. As painter to the papal court, his work met with high praise, and he established himself as the most favored artist in Rome. He was commissioned to paint portraits, devotional subjects, and the Pope's private rooms; he also designed tapestries. Raphael was soon placed in charge of all papal projects involving architecture, paintings, decoration, and the preservation of antiquities. His untimely death at the age of thirty-seven, Vasari said, "plunged into grief the entire papal court"; the Pope, who "wept bitterly when he died, had intended making him a Cardinal."

The nude

was prohibited in the Christian Medieval Ages, and only shown rarely in biblical or moralizing contexts such as the story of Adam and Even or descriptions of sinners in Hell. This was a return to the celebration of the body.

Titian

was the greatest painter of 16th-century Venice, and the first painter to have a mainly international clientele. During his long career, he experimented with many different styles of painting which embody the development of art during his epoch.

The Cathedral of Santa Maria del Fiore

was the major church in Florence in the Renaissance period, but it was a building which was largely built in the fourteenth century (thus pre-dating the Renaissance). The origins go back to the Middle Ages, when Italian cities competed to build larger and greater cathedrals. Pisa began its cathedral in 1063, and Siena built its cathedral by around 1260 (Giovanni Pisano later designed the facade). In the late thirteenth century, Florence began work on its own, new cathedral to replace the smaller church of Santa Reparata which had stood in the city center in front of the Baptistery of San Giovanni.