Flashcards
Exam 2 (Ch. 5-10)
Cards in this deck (24)
- 1—Dome of the Rock. Jerusalem. Islamic
- Adam buried under rock
- Mohammed ascended to heaven
- Stone that Abe almost killed Isaac on
- octagonal based from St. Vitale
- the triumph of Islam - 2—Lindisfarne Gospels. Cross Carpet Page from Gospel of St. Matthew. Hiberno-Saxon.
- Irish & Anglo-Saxon
- taken motif/inspo from Saxons, but more Christian
- snake motifs
- linear patterning
- nature worshippers
- cloisonné and millefiori technique
- 3—St. Sernin. Toulouse, France. Romanesque.
- solid masonry walls
- buttresses (support weight of walls)
- 2 levels (tribune)
- accommodate pilgrims
- arches and nave arcade
- thick walls
- not much light
- Charlemagne commissions
- 4—Gislebertus. Last Judgment Tympanum from St. Lazare. Autun, France. Romanesque
- relief sculpture that teaches about faith
- church trying to establish themself as teh way to salvation
- 5—Hildegard of Bingen. from Scivias: Vision of
Hildegard of Bingen. Romanesque
- basically a renaissance woman (artist, writer, composer
- Scivias = know the ways of God
- became a nun to pursue intellectual things
- 6—Abbey Church, St. Denis, France:
Interior at Crossing.
Early Gothic
- more elaborate arches (nave arcade)
- fancier "lux nova" (stained glass windows)
- Gothic churches were built for height
- ribbed vaulting
- clearstory that is larger for stained glass windows
- 7—Giotto. Scrovegni Chapel, Padua, Italy: Lamentation. 14 C.
Proto-Renaissance.
- Different ways of grief
- 38 fresco panels
- commissioned as penance (for usury)
- chiaroscuro (blending of light and dark)
- 8—Robert Campin (Master of Flemalle). Merode Altarpiece. 15 C. Early Renaissance
- triptych
- symbols focus on Mary (virginitiy, piety, holiness)
- candle exstinguished = Jesus coming down to earth and things in Heaven extinguishing
- 9—Jan van Eyck. Ghent Altarpiece. 15 C. Early Renaissance
- polyptych
- commissioned by a merchant for a church
- real people are painted realistically with flaws, holy people are flawless
- benevolent depiction of God
- 10—Jan van Eyck.
Giovanni Arnolfini and His Bride. 15 C.
Early Renaissance
- Holy matrimony
- Secular and sacred
- Mirror surrounded by sanctions of the cross
- 11—Lorenzo Ghiberti. Sacrifice of Isaac.15 C. Early Renaissance
- better composition
- less expensive
- winner
- quatrafoil (4 petals)
- 12—Filippo Brunelleschi. Sacrifice of Isaac. 15C. Early Renaissance
- most people like this one
- less adept at bronze work than Ghiberti
- 13—Donatello. David. 15 C. Early Renaissance
- S-curve from Roman late Classical inspo
- Medici family
- contrast between youthful David and violent decapitated head of Goliath
- 14—Donatello. Gattamelata (Equestrian Statue
of Erasmo de Narni). 15 C. Early
Renaissance
- Similar to Marcus Aurelius
- Horse and Honey Cat are proportionate
-- horse foot on globe = power
- Venice gives to city of Padua
- 15—Da Vinci. Last Supper. 15 C. High Renaissance
- fresco a secco (painted straight onto wall, not plaster)
- pyramidal (4 sets of 3 people)
- hand gestures and glances
- Christ highlighted w/ window light & second window (the Son)
- 16—Raphael. School of Athens. 16 C. High Renaissance
- commissioned by Pope Julius for papal apartments
- Plato & Aristotle in center represent ideas of transcendent world
- Plato pointing up (philosophy)
- Aristotle pointing down (Diogenes/cynicism)
- mix of ancient people and more "modern" people (of that time)
- 17—Michaelangelo. Creation of Adam. 16 C. High Renaissance
- figure of Adam is concave and God is convex
- emphasis on loving/longing glances
- longing for spirituality (being Christian)
- power of body & spiritual
- 18—Jacopo da Pontormo. Entombment of Christ. 16 C. Mannerism
- Story of Christ but Christ is not emphasis
- tone is anxiety; figures look outside canvas
- anatomically incorrect; imperfect composition = ambiguity/anxiety
- Mary not touching/connected to Jesus
- 19—Albrect Durer. Four Apostles. 16 C. Northern Renaissance
- St. John, Peter, Mark ,Paul (shows each personality type)
- John is most important bc Protestants
- John with Bible (Bible over keys to kingdom)
- Peter with keys
- apostles standing on scripture
- 20—El Greco. Burial of Count Orgaz. 16 C. Mannerism
- Byzantine, Florentine, and Venetian influence
- Count Orgaz = holy man, charitable, humble
- clergy dedicates to him bc of support to community
- 21—Carlo Maderno. Facade of Saint Peter's. 17 C. Baroque
- Pope Julius destroys the original then hires Michaelangelo
- Similar structures to Classical (pediment, corinthian columns)
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- 22—Gianlorenzo Bernini. Cornaro Chapel: Ecstasy of Saint Teresa. 17 C. Baroque
- use of architecture, painting, sculpture
- use of heavy lines w/ Teresa to show importance
- angel is soft and wind-blown, emotional, airy
- 23—Caravaggio. Calling of Saint Matthew. 17 C. Baroque.
- Tenebrism (no blending, heavy darks & lights
- Controversial bc Jesus is not the focal point
- Matthew is the only clean one (sacrilegious bc everyone else is dirty)
- Caravaggio got away bc he's a rebel
- 24—Fra Andrea Pozzo. Glorification of Saint Ignatius. 17 C. Baroque
- use of real and painted architecture
- qudro riportato design
- Counter-reformation
- Iggy wounded in war, divine revelation = Jesuit
- 4 corners of the world where monks were sent
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- Undergraduate Art History Flashcards on Exam 2 (Ch. 5-10), created by Julie Jung on 03/03/2022.
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