ARTH 102: Renaissance - Contemporary Review Set

Edgerton

'Alberti's Florence'; Brunelleschi and Alberti; political influence in Italy; moral applications of geometry and math; influence of humanism; rise of banking and commerce (patronization); linear perspective of technical skill (first to put it into writng)

Bartrum

'Albrech Durer and his Legacy'; signing, self-portraiture, specific tells meant his work was recognizable as his; prints allowed him to become mass-produced and known; his art was often stolen

Lingberg

'Artists and Anatomists of the Renaissance'; introduction of natural science; applied to visual theory in creative ways; more accurate depiction of ocular anatomy but rarely deviated from medieval framework; used mirrors to create linear perspective; Brunelleschi and Alberti

Steinhardt

'Chinese Imperial City Planning'; rulership always compared to previous ruler; imperial city is emperor's palace; specific ways for building palace; Chinese empire cannot rule without palace

Alpers

'Describe or Narrate?'; emphasize description and de-emphasize or suspend narrative action; certain nature of appeal of Renaissance artists; i.e. Carravaggio leaves viewer uncertain of appeal; realism of Renaissance still ascribed to but the narrative changes; relationship between the real world and them imagined; depicting things as they actually were v. changing pieces to narrate a scene (i.e putting patrons in with Mary; still realistically drawn but not realistic)

Ledderose

'Freedom of the Brush'; chinese calligraphy importance, skill + time required; copying old tradition but also creating new style' look spontaneous but took forever; was also an art to watch someone paint; Wang Xizhi watching geese, importance of tradition, old masters; Dong Qichang defining greatness,

Lippit

'Of Modes and Manners in Japanese Ink Painting'; principles of Zen Buddhism; free of institutional structures of the time; own spiritual awakening

Clunas

'Practices of Vision'; history of looking; viewing is dependent on class, distance, and whether something was on display; idea of 'managing to see'; limited time for scrolls to be seen; must be seen in a group

Harbison

'Realism and Symbolism in Early Flemish Painting'; shift from scholastic interpretation to autonomy of human experience (everyday); archetype v. realism of individual; earthly existence and supernatural truth; mingling realism and symbolism

Coaldrake

'Symbol and Substance of Momoyana and Early Edo'

Elias

'The Court Society'

Steinberg

'Who's Who in Michelagnelo's Creation of Adam'; after pictures came out, people speculated who was who; is person under God's arm Mary?; debates on the unisexness of figures

Hall of Supreme Harmony (Forbidden City)

(1406-1420); Ming Dynasty (Chinese); largest hall in Forbidden City; wooden structure; large throne inside; court meetings held their to discuss affairs; mostly allowed senators and other leaders/high-ranking government/military officials

Hall of Central Harmony (Forbidden City)

(1406-1420); Ming Dynasty (Chinese); only emperor allowed; used by emporer to rest before meetings

Hall of Preserving Harmony (Forbidden City)

(1406-1420); Ming Dynasty (Chinese); throne; hall for rehearsing ceremonies; final place of Imperial examination

Meridian (Wu) Gate (Forbidden City)

(1406-1420); Ming Dynasty (Chinese); two arms on either side; center arch was for emperor only; everyone allowed through; followed by gate of Supreme Harmony

Gate of Supreme Harmony (Forbidden City)

(1406-1420); Ming Dynasty (Chinese); where the emperor held court in the mourning; very long stretch; everyone allowed through

Gutenberg Bible

(1455); printed latin vulgatte on vellum; 48 copies; leather bound with caligraphic writing; mass print; moveable print

Silver Pavilion (Ginkakuji)

(1483); Muromachi Period (Japanese); comissioned by Shogun Ashikaga Yoshimasa (grandson); said to be made of silver; vacation place for shogun

Plan of the Forbidden City

1406-1420; Ming Dynasty (Chinese); imperial and spiritual palace; pyramid of importance to enter, elevates and then de-elevates, like pyramid; built around sun; feng shui;

Perspective Diagram: Centric Point Operation

Alberti (1404-1472); drawn by Samuel Edgerton; shows linear perspective and dimensions of people in it

Splashed Ink Landscape

Sesshu (1495); Muromachi period; ink on paper; hanging scroll; made with splashes; no outlines; painted by monk

Young Woman with Water Pitcher

Vermeer (1662); Dutch Baroque; oil on canvas; everyday life

Annunciation (Merode Altarpiece)

Campin (1428); oil on panel; flemish; tryptich; patrons; everyday life; merchants; lily

Martyrdom of Saint Peter

Caravaggio (1600-01); oil on canvas; ability to put self in scene; lots of movement

Bacchus

Carragvaggio (1587-98); oil on canvas; baroque; realism (tan in face and hands); mythologyical scene

Returning Late from a Spring Outing

Dai Jin; Ming dynasty (first half of 15th century); ink and colors on silk; hanging scroll; literati; based on style of Southern Song; varied dry and wet brush strokes

Shady Trees in a Summer Landscape

Dong Qichang (early 17th century); Ming dynasty; hanging scroll; ink on paper; imitation from memory; literati; up and down brush strokes

Adam and Eve

Durer (1504); copperplate engraving

Cloudy Mountains

Fang Congyi (1360-70); Yuan Dynasty (Chinese); in and color on paper, handscroll; Daoist painter; literati; meant to focus on brush strokes; moving chi throughout painting; winding brushwork; meant to be opened as handscroll (flow of chi through art as opening narrative)

Bodhidharma and Huiko (Daruma and Eka)

Sesshu (1496); Muromachi period; ink and color on paper; hanging scroll; shows boddhiarma with hood (thicker outline to distinguish); Huiko is his devoted student (cut off own arm b/c bodhidharma didnt have one); craggy rocks; zen buddhism

Walking with a Staff

Shen Zhou (late 15th century); Ming Dynasty; ink and color on paper; hanging scroll; literati; brush strokes; bare trees; man ascending mountain: combined Song and Yuan dyansty styles; potery, calligraphy, painting;

Dwelling in the Fuchun Mountains

Huang Gongwang (1347-50); Yuan Dynasty (Chinese); ink on paper; handscroll; literati painting; focus on brushstrokes of mountains, combination of brushstroke styles

Catching a Catfish with a Gourd

Josetsu (1413); Muromachi period (Japanese); ink on paper; hanging scroll; originally panel screen; politically inclined for shogun; done in a style reminscient of literati; inspired by riddle about catching fish with gourd

Birds and Flowers of the Four Seasons

Kano Motonobu (1513); Muromachi period; ink and color on paper; formerly door panels; now hanging scroll; inspired by professional chinese painting

Palac of Versailles and Gardens

Le Roy, Le Vau, Le Notre, Le Brun (1661-1715); orginally hunting lodge; rebuilt; to have underlings come and be consolidated; hall of mirrors; impress and terrify guests; perpetual parties

Poet on a Mountaintop

Shen Zhou (late 15th century); Ming Dynasty; ink on paper; album leaf; Man on mountaintop; combined Song and Yuan dyansty styles; potery, calligraphy, painting;

Virgin of the Rocks

Leonardo (1485); oil on panel; interest in biology and sciene; sfumato

Vitruvian Man

Leonardo (1490); pen and ink with wash over metalpoint on paper; leonardo interest in biology; right proportions of man

Mona Lisa

Leonardo (1503-1506); oil on wood; rich merchant wife; Lisa Gheradini; sfumato

Apricot Blossoms and Peacocks

Lu Ji; Ming Dynasty (15th century); ink and colors on silk; hanging scroll; professional painter; depiction of nature and realism scenes

Laurel, Chrysanthemum, and Birds

Lu Ji; Ming Dynasty (15th century); ink and colors on silk; hanging scroll; professional painter; meant to be hung in place and admired;

The Eavesdropper

Maes (1657); baroque; oil on canvas; between two worlds; class differences

Holy Trinity

Masaccio (1427); fresco; linear perspective; triangular composition; patrons in place; life and death

Sistine Chapel Ceiling

Michelangelo (1508-12); fresco; series of panels of depictions of biblical scenes; originally too much penis

The Rongxi Studio

Ni Zan (1372); Yuan Dynasty (Chinese); ink on paper; hanging scroll; literati painting; poem added later; some mistakes; varied brushstrokes; bare trees

Christ Giving Keys to St. Peter

Perugino (1481); sistine chapel; fresco; panel on ceiling; linear perspective

Judgement of Solomon

Poussin (1649); oil on canvas; new way of following painting; guidelines for how things look;

Madonna del Prato

Raphael (1505); oil on poplar panel; relaxed by engaged; chiaroscuro (somewhat); softer bodies; no shoulders

Portraits(s) of Agnolo Doni and Maddalena Doni

Raphael (1505-06); oil on panel; portraiture; young couples; rich merchant with wife; common form for couples portraits; continuous background

School of Athens

Raphael (1510-11); fresco; pope's inner chambers; all major thinkers; self-insert

Portrait of Louis XIV

Riguard (1701); roccoco; oil on canvas; extreme wealth; look at those legs; beauty and power

The Temptation of St. Anthony

Schongauer (1470-1475); copperplate engraving;

Reading in the Bamboo Studio

Shubun (1446); Muromachi (Japanese); ink on paper; hanging scroll; painted by monk; remiscient of Chinese style (Yuan and Song); heavier composition on right

Embarkation for the Island of Cythera

Watteau (1718); oil on canvas; rococo; fete galante - French parties during rococo; showed excess spending and rich life during reign of Louis XV; tendency of french elite to have large parties every day; Cythera is the birthplace of Venus (goddess of love)

Old Trees by a Cold Waterfall

Wen Zhengming (1549); Ming dynasty; ink and color on silk; hanging scroll; professional painting; calligraphy, painting, and poetry; very little space in composition; one of four masters of Ming

Autumn Colors on the Qiao and Hua Mountains

Zhao Mengu (1296); Yuan Dynasty (Chinese); ink and color on paper; handscroll; literati painting, meant to focus on brush strokes; bareness of trees; some mistakes, not perfect (more focused on art then perfections); foreground, middle ground, background

Eighteen Scholars Admiring Art

artist: Du Jin (1465-1500); Ming Dynasty (Chinese); ink and color on silk; hanging scroll; depicts rich artists looking at court painting (court v. literati painting); scholars engaged in calligraphy and painting; scholars - they are educated in the subject; hanging scroll meant it was likely on display in someone's house or official space

Golden Pavilion

original (1399), rebuilt 1950s; Muromachi period (Japanese); comissioned by Shogun Ashikaga Yoshimitsu; vacation place for shogunate; said to have been entirely made of gold; original was attacked and burned by angry citizens

Ghent Altarpiece

van Eyck (1420s); oil on panel; folded in most times; only folded out for great ceremonies; adam and eve; saints and patrons

Man in Red Turban

van Eyck (1433); oil on wood; self-portrait; realism of skin; put his name on frame; merchant; always depicted with red turban

Arnolfini Portrait

van Eyck (1434); oil on oak panel; husband and wife; merchant; maybe girl is pregnant; small details; christ passion on clocl' dog- fidelity