Flashcards

Art History Final

Christopher Anton Art History English 55 cards

Cards in this deck (55)

1—Botticelli
Birth of Venus
Florence
(ADD DATE)
Patron: Medici family
(tempera on canvas)
Venus being clothed by flora
Zephyr carries___ while blowing flowers which is meant to represent seaman.
Neoplatonic style
artists are god like creators. he makes art to make art. role of art is art.
copy of medici owned statue of venus. Venus has s curve. contrapposto. b/c the of the neoplatonic style the figures are weird. venus has a meaty arm, long neck (compare to Madonna of the long neck)
2—Memling
Pendant portraits
Flemish
1441-90
The Moreels
3—Ghirlandaio
portrait of a woman
Italian
1441-90
(Giovanna Tornabuoni)
add husband name
unusual: posthumous portrait (she died in childbirth)
4—Sandro Botticelli
Mystic Nativity
Florence
1491-1520
apocalyptic image
5—Bosch
Ship of fools
Flemish
1491-1520
brandt published ship of fools in 1494: SATIRE
FOOLS
--bad choices, Unaware of fate, Social satire,... and this is the rennisaince???
6—Bosch
Garden of earthly delights triptych
Flemish
1491-1520
in palace, Brussels, Henry III of Nassau, Regent of the Netherlands
closed position= god creating the earth
left wing: garden of Eden "heaven" Dawn of life. Brands ship of fools: "Of Adultry"
middle panel: scale inverted; unholy copulation (ripe berries, seed pods: round female forms. they are larger than the humans) phalic symbols creation out of control? right panel= Hell "all things are inverted in the end" night scene sterile forms; ice. plesures become tourtures: inversion
as a whole: human history (and future)
compare to fra angelico, last judgment... or rogier van der weyden, last judgment
very strange: death found in garden of eden compare to michlangelo, etc
7—Mathias Grünewald
Isenheim Altarpiece
German
1491-1520
for Antonite Hospital
crusifixtion: expressionist style: exaggerated, elongated death and resurrection. resurrection: HOPE to sufferers
baby christ holds aptropaic coral he will die als b/c crooked head
compare spectacular ressurection scene to the quite simple piero della francesca, ressurection
Higo van der goes
Botticelli
grunewald
bosch
8Aristotelian--body + soul linked
--specific, momentary emotions (not essential, unchanging)
--body language
for the artist:
--nature=master
--sight = #1 sense
--painting = #1 art
=divine creation,
artists "parallel"
God
9Neoplatonists#1 art= music (most
abstract art)
not meant to paralell god. we make art for art so we should things look ideal.
10—LDV
last supper
1491-1520
italy
patron duke Ludovico Sforza (coat of arms)
Not a true fresco (LDV experimented)
condition=POOR probably most all of LDV's hand nolonger exists
the two scenes depicted, "One of you shall betray me" AND institution of the Eucharist
in order of apperence (starting with judas) Judas, Peter, John the Evangelist, then Christ. judas is to christs right, he has a big nose, and is very scrungy looking(leans away). he has dark skin. tapastrys on the wall. three windows = holy trinity. work made famous to public through many painted coppies and prints.
11—LDV
Mona Lisa
Florentine/ Italian
1491-1520
(oil on panel)
painting of: Lisa di Antonio Maria Gherardini (?), 24 yrs old
pinting cut at sides: originaly columns, seated in loggia before landscape. 3/4 view portrait. sfumato (smokey, soft.) Very Dirty. very weird background. LDV was never truly finished with this painting
memlings pendant portrait possible source? or portrait of a woman by ghirlandaio?
12—Michelangelo
David
Florentine
1491-1520
(for Cathedral tribune)
made from abandoned marble
1504 committee
to large to place high up (7 tons) so placed at Palazzo Vecchio, front entry (now=copy)
note scale: much biger than the other sculptures. he is nude, not naked missing: head of goliath, slingshot, and sword
gardian of the plazzo vecchio. david established reputation for M: never again unemployed: worked on two terms, NO contract; chooses commissions, avoids other patrons, lives via family connections, patrionage. subtractive technique.. contrapposto. Donatello as a source
13—Raphael
Madonna & Child w/John the Baptist, Madonna & Child
Italian
1491-1520
compare to cf. Leonardo da Vinci, VM, Christ, & St. Anne
14—Raphael
Doni Portraits (Angelo & Maddalena Strozzi Doni)
Italian
1491-1520
Raphael, drawing of young girl based on leonardo mona lisa??
modern portrature:
—recognizable likeness
—character, psychological self
—status, position/ role in world
15—Bramante
Il Tempietto, Rome,
Italian
1491-1520
(com. at San Pietro in Montorio, cloister;
patrons King Ferdinand & Queen Isabella of Spain)
"copy" of Anastasis Rotunda, Jerusalem, 4th c. site of Christ's burial AND Resurrection associated w/martyrdom and rebirth Doric (Tuscan) Order
frieze: metopes & triglyphs
module: column diameter= tiny!
15' diameter
16—Bramante
St. Peter's, Rome
1491-1520
Italian
patron: Pope Julius II (central-plan church: Tomb of St. Peter)
Bramante's interior [long hall with gold arched celing] (based on Roman basilica in Rome) poured concrete + veneer
Michaelangelo built the dome
17—6. Raphael
Stanza della Segnatura, Vatican Palace,
1491-1520
Italian
patron: Pope Julius II (1508/9-1511)
designed to house julius’s personal library (books of philosophers, humanists philosopher law and arts) 4 walls
philosophy and arts on big walls
18—6. [rapheal] Disputa (Theology): doctrine of the Eucharist: transubstantiation debate resolved: The Trinity present, Christ's real presence. main focal points
the curved arch,people down below= chaotic, the heavens= orderly, the trinity people down below: some theologians.
DEBATE: Christ's body & blood? real presence of Trinity at Mass? on altar: monstrance w/sanctified wafer (host) from Mass. Pope w/o beard= pope julius II. pope w/ beard= uncle: pope sixtus IV
19—6. [Rapheal] School of Athens (Philosophy)
mimics bramantes new st peter interior: same arch with dome in the middle set up.
source for subject: Andrea del Castagno, Famous Wo/Men, ca. 1450 (the room with the various large people painted on the walls). Source for style= LDV last supper
[plato looks like LDV!] [Euclid=Bramante]
added michelangelo and self.
20—Michelangelo
Sistine Chapel ceiling
Florentine
1491-1520
(1508-1512; Michelangelo, Last Judgment)
ceiling shape; 60' high; 43.5' x 130'; "I am not a painter"
21—michelangelo
creation of adam [sistine chapel celing]
1491-1520
disegno:
--more linear: interest in line, in edges of forms
--more 3D sculptural figures
22—michelangelo
creation of eve [sistine chapel celing]
1491-1520
dead tree? no death in eden! dead tree shaped like eve! forshadow that eve will cause the problems!
compare Adam and drunken Noah. Drunkenness of Noah: Noah's "fall" from grace: after the flood.
23—Fall (Temptation) and Expulsion of Adam & Eve
(Sistine chapel ceiling)
the temtation as sexual seduction. during the temtation, they didnt care about being naked but then in the expulsion they are ashemed so they cover themselves up.
eve is flipping her genital area off
follow the finger: “line of fate”
the expultion: his hair might me ment to resemble horns? they’re not horns but prof Jolly says they could be alluding the ides of Devil horns which are bad
eve is in profile(=evil) michelangelo rarley shows a female body that looks perticularly feminine. drawings of male nudes for images of women. expulsion just like mussachio's expulsion
24—Hans Baldung Grien
Witches' Sabbath,
1491-1520
German
(chiaroscuro woodcut)
Humanist. spears. women portrayed as witches. male impotence blamed on wihes
25—Hans Baldung Grien, Eve, the Serpent, and Adam (as Death?),
German
1491-1520 OR 1521-90
cause becomes effect:
temporal dislocation
why doe eve seem untouched. perhaps she worked with the devil and "adam" or death is angry. hence the grabbing of the arm
26—Baldung
Phyllis & Aristotle, woodcut
German
1491-1520
(Alexander the Great)
“power of woman” theme.
27—Mechenem
Battle for the Pants
German
1491-1520
meant to show female dominance. she is wearing the pants, therefore, she in charge.
28—Giorgione
Sleeping Venus
Venetian
1491-1520
how ID: there used to be cupid in the painting but he was removed. venus appears to "touch herself". fertility, sexuality. very harmonious scene . woman’s harmonius relation to nature, to landscape; nature vs culture
fertilate “the viewer becomes a voyeur" she is vounrablr to gaze.
erotic plesuse
(possibly compare to cassone?)
29—Titian
Assumption of the Virgin Mary
Venetian
1491-1520
high altar: Frari Church in Venice
narrative: body assumed into Heaven possible influence from raphaels painting?
“High” Renaissance composition.
colorito
--softer modelling, softer edges
--color
--subtle effects of light
30—Titian
Venus of Urbino
1521-90
Venetian
patron: Duke (of Camerino/Urbino)
who is she?= venus. very similar to georgioni's venus. evidence?= pudica gesture. mythological excuse for erotic? "classical propriety"? she is naked not nude. notice the weading casonne, could be meant to teach his wife how she should be when she is old enough... for wife is also dog or fido which is always loyal. =loyal wife. [idelized portrate of the bride?]
31—Durer
Self Portrait
German
1491-1520
(oil on panel; Prado)
26 years old, post-1st trip to Italy
(1494-95). How does he envision himself?: AS IMPORTANT? :) self-fashioning. Durer already famous b/c of his father.
32—Durer
Four Horsemen of the Apocalypse woodcut
German
1491-1520
Book of Revelation Chapt. 6: Conquest (crown & bow), War (sword), Plague/Famine (scales), Death. status of art: art = humanist
endeavor; a liberal art,, from educated minds status of artist,, monogram,, artist not craftsman; = concepts, ideas,, later works: used carvers for woodcuts
33—Durer
Self Portrait
German
1491-1520
(signed and dated 1500; 26" x 19")
he reallty thinks hes important!! paints him self like christ! looks like dirk bouts last supper jesus. he even holds his hand like jesus! Durer compares genius -artist to creator diety. But also melancholic,
suffering genius.... !based on the veronica vail (a meticulous image) "true image"
"not made by human hands"! to put it simply, He was really full of himself!
34—Durer
Adam and Eve
engraving
German
1491-1520
(s & d 1504)
sources: drawings classical sculpture
synthists of northern and italian ideas
the appolo belvedere. disguised symbolism:
four humors, four temtatins
blood=sanguine=rabit
yellow bile= choleric=cat
black gall=melancholic=elk
phlegm=phlegmatic=ox
men hot and dry
women cold and moist
Vitruvian proportions
compair to Jan van eyk Ghent alterpeice
35—Albrecht Durer
Four Apostles
German
1521-1590
(1526; 7'1" h.)
1525 Nuremberg voted to be Lutheran. new Protestant style
> life-sized diptych.
john the evangelist/ peter mark/paul
1515 Nuremberg voted to be Lutheran
John the Evangelist= Luthers favorite gospel Paul— Lutheran called “Paulines”)
St. Peter = 1st “pope” use of text= protestant inscription: anti-papacy, with quotes from Luther’s German bible translation.
protestant tyle= more simple. this artwotk is the same as, Giovanni Bellini,
Frari Altarpiece, Venice except REMOVE MARY AND CHRIST and SIMPLIFY THE FRAME.
36—Durer
Last Supper, woodcut
German
1521-90 (1523)
how Protestant? what moment of narrative? who present?
post accusation
“a new commandment I give you, that you love one another…”
& Peter’s 3x betrayal (John 13: 34-38), not Judas’s On the floor: Paten, Wine, bread: no transubsiation protestant use of prints: good distribution to people; denies materiality of image
[compare to dirk bouts]
37—Gossaert, Flemish, St. Luke Painting the Virgin, 1521-90
counter-refromation
IT IS OK to paint religious figures! the angel is gods messenger and it guides st lukes hand! therefore god says its ok!
saint luke is kneeling like in the van der Weyden. portal from the heavens
38—Cranach
Allegory of Law & Grace
German
1521-90
woodcut (c. 1530)
new Protestant art
39—Cranach
Judgment of Paris
German
1521-90:
Minerva, Hera, Venus
archaizing? slim, "Gothic" nudes like Bosch courtly art; mannered artificiality? Protestant openness re sex? Luther: clerics enjoy sex. a Protestant style = anti-Rome/anti-Catholic style?
content: humanist moralizing theme (moralized Ovid text) Wittenberg court
Paris makes bad choice
secular narrative (non-religious) w/moralizing theme
minerva says she will allow him to lead the trojans in war against greece
Hera says he will become the ….
cranach.. a Protestant style= ani-Roman….. popular for the educated at vittenburg
choir of style. it becomes a moralizing work. paris makes bad choices. (NON RELIGIOUS THEMES)
40—Cranach
Lucretia's Suicide
German
1521-90
35 versions extant
Roman historian Livy founding of Roman Republic (Etruscan Tarquin; husband Roman Collatinus) (lucritia is raped) notice falic simbols the rock resembles male genitals. on spec paintings. premade and sold at the town market (VERY CHEAP)
41—Holbein
Henry VIII
German
1521-90
a wedding portrait 49 years old (Anne of Cleves, #4) "Mannerist" style: courtly, artificiality, "mask-like", relatively 2D
bold, challenging
prosperous, well-fed
fertile
wealthly
high status
42—Holbein
German
French Ambassadors,
1521-90
(s & d 1533;
81" x 82"
oil/panel; London)
life sized!
(patron = Jean de Dinteville;
w/Bishop Georges
de Selve at right)
--detailed style of Jan
van Eyck
--rich oil paint
--complex meanings
complex symbolism
Humanist intelect top shelf
lute, flutes
Lutheran hymn book
music as harmony?
bishop georges de self: book urging religious Harmony
BUT
Broken string: Discord?
and/or fleeting earthly plwesures (i,e., Vanitas)?
celestial shpere…
a skull is on the floor viewing rod or prism
anamorphic image
(memento mori)
anamorphic image:
distorted perspective
visual Pun “hallow bone” hol bein
mirror anamorphosis: late renaissance (16 c.)
43—5. Titian,
Venetian,
Rape of Lucretia,
1521-90
(1570s; 46" x 40";
impasto)
Tarquin
impasto= when you apply very thick paint
action portrait wench you being in a sense of movement
44MannerismMannerism--values invention, uniqueness
-values complexity
--not imitating nature
--witty; plays games w/viewer, surprises
--self-aware as "art"
--NOT "High" Ren style
--NOT a universal style
45—1. Parmigianino,
Italian,
Self Portrait,
1521-90
(1524; 9.5"); convex; 21 yrs old
"the new rapheal
46—2. Parmigianino,
Italian,
1521-90
Madonna of the Long Neck
(ca. 1535-40; 7'1" x 4'4")
left unfinished at his death
altarpiece for a family chapel
(patron: Elena Baiardi
pose: figura serpentinata
an altarpiece that is:
1. poetic conceit about beauty
--vase
--ivory column
Mary as ideal beauty
Baiardi's father: wrote such courtly poetry
unstable composition
(figura serpoentinata= twisted figure)
an altarpeice that is:
1.poetic beauty
—vase
—ivory colum
mary is ideal beauty
bairdi’s father wrote such courtly poetry
2. self conscious about art
(art as art)
involving the viewer
3.: self consoulslty about the artist
— cleverness of Artist: he wants to be noticedmichelangelo hid for 3 months under san lorenzo (found 1975—viewer is complict:
dialog between artist and viewer
47—3. Michelangelo,
Florentine,
Medici Tombs at San Lorenzo,
Florence, 1521-90
(New Sacristy; 1519-34): left incomplete
Four Medici tombs: focus = Duke Giuliano (d. 1516; son of Lorenzo the Magnificent) & Duke Lorenzo (d. 1519; grandson)
(also tombs of Lorenzo the Magnificent & his brother Giuliano)
mixed media: Michelangelo = architect, sculptor, painter
blind niches; broken pediments; brackets
corners squeezed, crowded
M. purposefully breaks rules
"Night and Day are speaking and saying, 'We have with our swift course brought to death the Duke Guiliano; it is just that he take vengeance upon us as he does . . .he thus dead has taken the light from us and with closed eyes has fastened ours so that they may shine forth no more upon the earth.'"
(Michelangelo, written on a study drawing for the chapel)
day=non finito style or aesthetic
frieze of masks all around room
mask=false dreams, nightmares
48—1. Agnolo Bronzino,
Florentine,
Portrait of a Man,
1521-90
(ca. 1540, NY: MMA)
(court painter to Medici: Cosimo I, Duke of Tuscany)
Mannerist portraiture
--elite: books
-idealized
--3/4 length
--cool elegance, aloof
--posed: very
self-conscious
-settings odd
49—2. Bronzino, Florentine, Allegory of Venus and Cupid (Venus, Cupid, Folly, and Time),
1521-90 (1540s)
Medici Duke Cosimo's gift to King Francis I of France
secular, classicizing
subject
allegorical
very provocitive like parmiganino
mannerist! so crazy! cupid kisses venus HIS MOTHER!!!
Mannerist art: esoteric, complex
dangers of love? syphilis? illicit love?
Beauty disarming Passion (arrow)?
political allegory?
"iconographically inscrutable and morally ambiguous" --Marcia Hall
Vasari:
Jealousy (tears hair)
Folly (boy w/roses)
Deceit (monstrous girl)
Time above w/Truth?
Venus w/Cupid's arrow & golden ball (apple?)
50—3. Michelangelo,
Florentine,
Last Judgment,
Sistine Chapel,
1521-90
(48' x 44', fresco)
patron: Pope
(Paul III)
nudity covered!! some removed during the cleaning
bartholomew’s skin
self portrait of M.
connection between the prefall adam and eve (pre lapserian state)
clothing is an earthly thong
why censored? ex too much nudity, ex one man dragged by his balls
pietro aretino’s role Why?
he was peronaly offended
it should be censored or totally removed . mainly because of changing viewers
changed b/c council of trent
51—4. Paolo Veronese,
Venetian,
Feast in the House of Levi
1521-90
(1571-73; oil/canvas, 18'3" x 42'; Louvre)
for refectory (dining hall) Dominican monastery
originally called last supper! to many not good things so they had to change name!
Antwerp
cosmic landscape: you can see the curve of the earth
popularity of landscapes:
— subject an “excuse”?
—urban escapism?
— religion less significant?
—suggests bigger world, commerce,travel?
—tricky! to engage the viewer?
all true?
52—1. Pieter Aertsen,
Dutch/Flemish,
Meat Stll-Life,
1521-90
"Mardi Gras" = "Fat Tuesday" (Carnival); vs. Lent (fish, pretzels)
mary joseph and christ seen in the background
“mardi Gras”= “fat Tuseday” (carnival); vs. Lent (fish , pretzels)
superficial viewer vs. careful viewer ( Spiritual):
“inverted composition [turns] dogma into dialogue (Harbison, 153)
53—2. Bruegel,
Adoration of the Magi,
Flemish,
1521-90
two contradictory interpretations:
harmonious integration of religion ito 16th-c. life?
OR collapse of religion in 16th-c. society? visual clues?
--Bruegel = modern; recognizes complex human condition
--ambiguity of real life: YOU figure it out
--purposefully ambiguous: DANGERS of Reformation, Inquisition
54—3. Pieter Bruegel,
Flemish,
Carrying of the Cross,
1521-90
"world view": observers (high horizon)
where are we? note high horizon; “world view”; > 500 figures. We are onlookers. (he uses INTUITIVE PERSPECTIVE not one point)
figures in red uniforms: spanish troops of Philip II; occupying army they are going to kill christ. “if christ were here today, you would kill him like you are killing the protestants
more than likely a private work
55—Bruegel, flemish,
seasons paintings,
1521-90
the one we must know:
Hunters in the Snow (Dec-Jan): humans' relation to nature
ntuitive perspective; humans’ relation to nature
the hunting dogs look tired, the hunters look tired they have only caught one rabit.
people building a fire to stay warm. they are burning their furniture. there is a hanging sign about to fall. saint Eustace is depicted on the sign did the hunters have a vision while out hunting. the sign about to burn might suggest Catholicism “falling and burning"

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Description: Art History Flashcards on Art History Final, created by Christopher Anton on 12/12/2018.
Created by: Christopher Anton
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Art History Final

Cards in this deck (55)

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