Karteikarten
Identification Midterm 1
Karten in diesem Stapel (62)
- 1—Limbourg Brothers
January
Early Northern Renaissance
Details:
- science and art mix
- vibrant colors: illustrates wealth
- gothic: not very realistic
- more secular: they are doing real things - 2—Sluter
Well of Moses
Early Northern Renaissance
good example because you can see things are becoming more realistic: textures, hair, drapery, real looking figures with character
- 3—Campin
Merode Altarpiece
Early Northern Renaissance
Brings secular and spiritual together: the setting is in their time period, but it is a spiritual scene with Mary
Joseph is making a mouse trap - Satan is mouse Christ is the trap
Christ comes in without breaking the glass: Mary is still a virign
SO MUCH SYMBOLISM
- 4—van Eyck
Portrait of Giovanni Arnolfini and Bride
Early Northern Renaissance
He focuses on details, disguised symbolism, humanism and individualism
- 5—van Eyck - The Ghent Altarpiece
Early Northern Renaissance
- 6—van der Weyden
Deposition
Early Northern Renaissance
Mary paralleling Christ
in depth emotions
wearing clothing that was part of the time period to help involve you
- 7—van der Goes
Portinari Altarpiece
Early Northern Renaissance
- 8—Fouquet
Etienne Chevalier and St. Stephan
Early Northern Renaissance
- 9—Giotto
Lamentation from the Arena Chapel
Italian Early/Proto Renaissance
Dimension, people are blocking your view making it more realistic, expression, line of painting drawing us to Mary and Christ, drapery, background taking place in the real world,
- 10—Brunelleschi
Dome of Florence Cathedral
Italian Early/Proto Renaissance
dome within a dome
- 11—Ghiberti
Gates of Paradise
Italian Early/Proto Renaissance
- 12—Donatello
David
Italian Early/Proto Renaissance
- 13—Donatello
Mary Magdalene
Italian Early/Proto Renaissance
- 14—Masaccio
The Tribute Money
Italian Early/Proto Renaissance
linear and atmospheric perspective
- 15—Botticelli
Birth of Venus
Italian Early/Proto Renaissance
Replicating early greek statue
love of anatomy
drapery
neo-platism
- 16—Angelico
The Annunciation
Italian Early/Proto Renaissance
- 17—Botticelli
Primavera
Italian Early/Proto-Renaissance
more astrological and focused on myths than spiritual focused
- 18—Francesca
The Flagellation of Christ
Italian Early/Proto Renaissance
- Focuses on perspective
- Linear perspective
- How space works and things recede
- Golden mean
Golden ratio
- 19—Perugino
Delivery of the keys to Saint Peter
Italian Early/Proto Renaissance
everything is very calculated
- 20—Bellini
St. Francis in Ecstasy
Italian Early/Proto Renaissance s
you are part of this event
- 21—Leonardo
Last Supper
High Renaissance
balance - 4 groups of 3
emotions
chaotic with balance
christ is the vanishing point
- 22—Leonardo
Mona Lisa
High Renaissance
show depth and personality
mystery
atmospheric perspective expansive background
hands are painted well
- 23—Leonardo
the Vitruvian Man
High Renaissance
- Circle represented - heavens which = most perfect
- Square = earth
- He uses man to show that we are both the heavens and earth
We are the measure of all things
- 24—Michelangelo
Pieta
High Renaissance
- He wants credit - craves his name - example of humanism and individuality
- Drapery
- Marble technique is INSANE
Understanding of how bodies work
- 25—Michelangelo
David
High Renaissance
- 26—Michelangelo
Creation of Adam (Sistine Chapel)
High Renaissance
- 27—Michelangelo
Last Judgement
High Renaissance
- 28—Raphael
Madonna of the Meadow
High Renaissance
Colors
- Primary colors - red, yellow, blue
Christ is in the center
Linear and atmospheric perspective
- 29—Raphael
School of Athens
High Renaissance
- Massive group that is composed well
Arches and vaults - straight out of roman culture
- 30—Bramante
Tempietto
High Renaissance
- Doric order
- Exactly twice as tall as it is wide
- 31—Bellini
Sacra Conversazione
High Renaissance
- Sense of space
Capture something soft peaceful beautiful
- 32—Giorgione
The Tempest
High Renassiance
- 33—Titian
The Pastoral Concert
High Renaissance
Visual Poetry
Meaning is up to us
- 34—Titian
The Assumption of the Virgin
High Renaissance
triangle pointing up
colors tell you what you need to know
- 35—Veronese
Feast in the House of Levi
High Renaissance
suppose to be about the last supper but was too much of a party
shows how the painter is getting more of a voice
- 36—Palladio
Villa Rotunda
High Renaissance
Perfect symmetric
Long windows with pediments on top
- 37—Pontormo
Descent from the Cross
Mannerism
○ Figures anatomy is more real, but they are so contorted twisting in and out
Colors are contradicting = not in harmony
- 38—Parmigiano
Madonna of the Long Neck
Mannerism
○ Too long of neck that twists and turns weird
○ Her body is also huge
○ Strange christ child if he is about to fall off
○ Baby like but too big
○ What is happening between foreground and background
Doesn’t have to be like reality
- 39—Bronzino
Portrait of a Young Man
Mannerism
○ His wealth is shown through education and clothes
○ Contortion of his body - his elbow comes out into our space… making him seem aloof
○ White hand against black cloack…fingers look strange
○ His eyes are wall eyeyd
§ One looks far the other at you
○ Room and space doesn’t make sense
Strange elements on the chiars: gargoles
- 40—Tintoretto
The Last Supper
Mannerism
- You follow lines to the right, but christ is still center
- But everything else is coming out of the dark
supernatural
- 41—Cellini
Perseus
Mannerism
- 42—Giambologna
Rape of the Sabine Woman
Mannerism
All about form turning 3 figures into 1
- 43—Romano
Palazzo del Te
Mannerism
- 44—El Greco
Burial of Count Orgaz
Mannerism
- 45—Grunwald
Isenheim Altarpiece
Northern High Renaissance
Emphasis on the skin
Christ suffered like we do
Agonizing christ
On holidays you center would open up and you see glory - the resurrection
Skin is now being healed
Encouraged imagination
- 46—Durer
Self-Portrait
Northern High Renaissance
- Looking straight at us
- Emphasis in oil painting on textures
- Signature
- Representing himself in the guise of christ
Suggesting he has an ability to create just like god
- 47—Durer
Adam and Eve
Northern High Renaissance
- You can see the italian influence - with the way he portrays the body
- But showing that within a northern traditions
○ Full of symbols and details
○ Different animals represent the 4 humors
○ This is no longer the garden of eden
Adam traps the mouse under his foot - christ will eventually be the one to capture the devil
- 48—Bosch
Garden of Earthly Delights
High Northern renaissance
imagination
He wants to scare you straight
What they once enjoyed on earth is the reason they are in hell
There are consequences
- 49—Bruegel
Return of the Hunters
Northern High Renaissance
Northern European environment in the winter
Hunters returning home empty handed while others have their meal (are participating in what winter has to offer = skating)
What is the message: why do you have to go out and hunt in the winter? Because you are not prepared. Why can you play in the winter? Because you are prepared
- 50—Holbein
The French Ambassadors
Northern High Renaissance
They are reflected as man of status, reform, taste
Potraiture + disguised symbolism coming together
Incredible account of the expense
- 51—Bernini
David
Italian Baroque
- Clothed
- Mid action
- The base seems busy
- Emotion in his face
○ Biting his lip
- Seeing the action
- Sculpture changes as you walk around
○ Theatrical
○ More drama the more you engage in it
- 52—Bernini
St Teresa of Avila in Ecstasy
Italian Baroque
- Emotion
- Drapery, but it doesn’t make any sense
In the height of the action
- theatrical
- 53—Bernini
St Peters Basilica Colonnade
Italian Baroque
Wanting to show churches power again
So large
It pulls you in
Looks like a key
Arms of the church bringing you back in
Saints on the top looking down at you, experiencing it with you
- 54—Borromini
Church of San Carlo alle Quattro Fontane
Italian Baroque
It is a combo of sculpture and architecture
Understands form
Not just circles and squares, but ovals
Optical illusions
- 55—Caravaggio
The Calling of St Matthew
Italian Baroque
- Stark shadows and light
- Movement and energy
- Christ points to the table at matthew
- Hand looks like michelanglos hand of adam
- He is using real people not idealized figures
- Putting us in a contemporary setting with the clothing
Makes it theatrical because no one is sitting in front of you
- 56—Caravaggio
Conversion of St Paul
Italian Baroque
- Horse is more dominant than paul
- Not the best angle of
- Wouldn't think it was christ without the title - no divinity
- Dramatic lighting
- Realistic
- Lots of foreshortening
○ Guy too big
You are part of it
- 57—Gentileschi
Judith Slaying Holofernes
Italian Baroque
Judith is the heroine
Gut shot
Shading looks like ^
realness
- 58—Ribera
Martydom of St Phillip
Spanish Baroque
- Emphasis on his suffering and pain
Makes your pain of going up against reformist easier == yes
- 59—Zurbaran
St Serapion
Spanish Baroque
He will not give up his faith
Simple
Quiet/peaceful
- 60—Velazquez
Water Carrier of Seville
Spanish Baroque
- One of the lowesst rungs in society
○ Ribbed clothing
- Looks strong and noble gives them dignity
- Textures
- 61—Velazquez
Las Meninas
Spanish Baroque
He is painting what is right in front of us
Painting of a painting
He is painting something in our space that is being reflected in the mirror - a potrait of the king and queen
So we are the king and queen
Capturing a moment in time behind the scenes
Reality of behind the scenes
- 62—Mission San Xavier del Bac
Spanish Baroque
- Outlandish
- More braquoe
- Flabount
- Lavish
Combo of painting, archetecture and sculpture
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- Karteikarten am Identification Midterm 1, erstellt von Addison Saunders am 16/05/2022.
- Erstellt von
- Addison Saunders
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