Karteikarten
Midterm #1
Karten in diesem Stapel (51)
- 1—Andrea Pisano, Door detail 1 "Salome takes head to Herodias," 1335
-- reliefs, south doors, Florence Baptistery
-- gilded bronze
-- quatrefoil (gothic style) - 2—Andrea Pisano, Door detail 2 "Baptism of his disciples," 1335
-- reliefs, south doors, Florence Baptistery
-- gilded bronze
-- quatrefoil (gothic style)
- 3—Brunelleschi, Dome of Florence, 1436
-- worked with Ghiberti & ...
-- talented architect
- 4—Brunelleschi, Ospedale degli Innocenti, 1444
-- had changes to design (not by him)
- 5—Brunelleschi, San Lorenzo, mid-15th century
- 6—Cimabue, "Virgin and Child Enthroned", c.1290-1300 (late 13th century)
-- part of Santa Trinitá church in Florence
-- Italy influenced by Byzantine art
-- 1st painter of Renaissance style (characteristics)
-- Italo-Byzantine style
- 7—Claus Sluter, Portal of Chartreuse de Champmol (Charter House), c. 1388-1410
- 8—Claus Sluter, "Well of Moses," 1406
-- actually a fountain
- 9—Donatello, "The Feast of Herod," c.1425
-- Sienna Cathedral
-- optical illusion/realism -> pictorial space
- 10—Donatello, Patron "St. George," 1415
-- commissioned by guild of armorers & swordmakers in Florence
- 11—Duccio, "Annunciation of the Death of the Virgin," Maestá Altarpiece, 1308-11
-- Siena
- 12—Duccio, "Betrayal of Jesus," Maestá Altarpiece, 1308-11
-- Siena
- 13—Duccio, Maestá Altarpiece, 1311
-- Siena
- 14—Duccio, Raising of Lazarus, 1311
- 15—Fra Angelico, "The Annunciation," 1450
-- San Marco convent
-- different capitals: Ionian vs. Corinthian
-- mix various traditions: too large figures vs. environment; pointed Gothic arches vs. round arches
- 16—Ghiberti; (L) Brunelleschi (R), Sacrifice of Isaac; 1401
-- competition for east doors of Florence Baptistery
- 17—Ghiberti, "Gates of Paradise," 1452
-- main gate (east doors) of the Baptistery of Florence
-- gilded = unified effect = golden illumination
- 18—Ghiberti, "Gates of Paradise," Story of Isaac and Sons detail, 1452
- 19—Giotto, Arena Chapel in Padua, 1306
-- shaped outlook of 14th century
-- barrel-vault, cylindrical
-- 38 panels, narrative scenes
** gothic style: to depict architecture smaller than actual (pictorial device)
- 20—Giotto, "Meeting of Joachim and Anna," Arena Chapel in Padua, 1305-6
-- gothic style (architecture size)
- 21—Giotto, "Kiss of Judas," Arena Chapel in Padua, 1306
- 22—Giotto, Arena Chapel of Padua, "Lamentation," c. 1304-6
- 23—Giotto, "Virgin and Child Enthroned," 1310
-- Florentine Church of Ognissanti
-- 1st painter to place figures in illusional 3D space
- 24—Giovanni Pisano, "Annunciation," 1301
-- Sant'Andrea pulpit in Pistoia, Italy
-- compared to father's (Nicola) pulpits
- 25—Hieronymus Bosch, "Garden of Earthly Delights Exterior," 1510
- 26—Hieronymus Bosch, "Garden of Earthly Delights Interior," 1510
- 27—Hubert and Jan van Eyck, Ghent Altarpiece Exterior, 1432
- 28—Hubert and Jan van Eyck, Ghent Altarpiece Interior, 1432
- 29—Hugo van der Goes, Portinari Altarpiece Exterior (closed frontispiece), 1476
-- commissioned by Medici Family Bank Bruges branch manager, Tommaso Portinari
- 30—Hugo van der Goes, Portinari Altarpiece, 1476
-- commissioned by Medici Family Bank Bruges branch manager, Tommaso Portinari
- 31—Jean Fouquet, "The Melun Diptych," 1455
-- realistic portrait of donors & their vision of Virgin/Christ
-- earthly vs. divine
-- diptych
- 32—Jan van Eyck, "Madonna with Chancellor Nicolas Rolin, 1437
- 33—Jan van Eyck, "Portrait of Man" or "Man in Red Turban", 1433
-- self-portrait?
- 34—Jan van Eyck, "Portrait of Giovanni Arnolfini and his Wife," 1434
- 35—Limbourg Brothers, Very Rich Book of Hours January, c. 1412-16
-- international Gothic style = idealized style
-- patron, Duke of Berry
- 36—Limbourg Brothers, Very Rich Book of Hours February, c.1412-16
-- international Gothic style = idealized style
-- patron, Duke of Berry
- 37—Lorenzetti, "Allegory of Good Government," c. 1337-40
-- panoramic mural in Sala della Pace (Hall of Peace) = city hall in Siena
-- good gov. on lighted walls, bad gov. on shadowed walls
- 38—Mantegna, "Camera picta," 1474
-- portraiture
-- to show the future generations the life of the past
- 39—Mantegna, "Camera picta" detail, 1474
-- illustionistic painting of oculus
-- di sotto = from below upwards
-- ultimate goal = preserve life
- 40—Masaccio, "Holy Trinity," 1428
- 41—Masaccio, "The Tribute Money," 1427
- 42—Master of Flémalle, Mérode Altarpiece (aka Annunciation Triptych), 1430
- 43—Melchior Broederlam, Dijon Altarpiece, 1349-99
-- triptych
- 44—Nanni di Bianco, "The Four Crowned Martyrs," 1417
-- harmony = parts as a whole
- 45—Nicola Pisano, "Annunciation," 1260
-- Pisa baptistery pulpit
- 46—Perugino, "Delivery of the Keys to St. Peter," 1481
-- linear persp
-- ideal structures
-- St. Peter's considered the first Pope
- 47—Piero della Francesca, "The Baptism of Christ," 1450
-- center of larger altarpiece
-- mathematical linear persp = geometric clarity
-- proportions etc = important
-- contrapposto = part of both transient (right) & eternal (left) worlds
- 48—Piero della Francesca, "Portrait of Montefeltro," 1474
-- panoramic landscape (from N. Euro)
-- profile views (in ref. to Roman coins)
- 49—Rogier van der Weyden, "St. Luke Drawing the Virgin," 1440
- 50—Rogier van der Weyden, "The Deposition," 1438
-- 2 diagonals; Mary imitates Christ's body
-- feeling of compression = no space around; shallow depth
- 51—Uccello, "Battle of San Romano," 1440
-- New World of Renaissance
-- solutions to linear perspective
-- brilliance & decorative color instead of local color (intro to fantasy?)
-- hinged perspective = using 2 diff. types