Art History 2

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Art History 2
2011-10-17 09:55:29
17 19

Test 1
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  1. Cimabue, Madonna Enthroned with Angels and Prophets, ca. 1280-1290
    • Maniera Greca
    • Egg Tempera
    • Non-individualized faces
    • Gold leaf
  2. Giotto di Bondoni, Madonna Enthroned, ca. 1310
    • Corporeal
    • Humanizing
    • Consistent, directional lighting
    • Chiaroscuro revealing the figure
  3. Giotto Di Bondone, Arena Chapel, Padua. 1305-1306
    • Fresco
    • Enrico Scrovegni
    • 38 framed scenes
    • Unifying blue
  4. Duccio Di Buoninsegna, Virgin Enthroned with Saints,Principal panel of the Maesta altarpiece, from the Siena Cathedral, Siena, Italy, 1308-1311
    • Sienese style
    • Sumptuous fabrics
    • International Gothic influence
    • Gold leaf as light of heaven
  5. Duccio Di Buoninsegna, Betrayal of Jesus,detail from the back side of the Maesta altarpiece, 1309-1311.
    • Volumetric figures
    • Consitent light
    • Tilted up ground plane
    • Use of landscape elements
  6. Simone Martini and Lippo Memmi (?), Annunciation, 1333
    • International Gothic
    • Flowing, fluttering line, jewel-like color, courtly
  7. Ambrogio Lorenzetti, Effects of Good Government in the City and in the Country, Palazzo Pubblico, Siena, Italy, 1338-1339. Fresco
    • Approximate perspective
    • Everyday activities
  8. Arnnolfo Di Cambio and others, Flornece Cathedral, begun 1296 horizontal compared to Gothic catherals
    • Low and horizontal compared to Gothic cathedrals Dome designed by Brunelleschi
    • Camapanile (bell tower) designed by Giotto
  9. Orcagna, tabernacle, Or San Michele, Florence, Italy,begun 1349
    monument dedicated to those who died of the plague “Gothic” style of architectural ornament
  10. Bernardo Daddi, Madonna and Child with Saints, painted insert, 1346-1347
    Maniera Greca
  11. Paul, Herman, and Jean Limbourg. Page with January, 1413-16
    • Handmade book
    • Office of the Virgin, includes prayers, psalms Ornamental pages alternate activities of the aristocracy and peasants
    • January page with Duke of Berry
    • International Gothic
    • lunette, astrological and lunar calendar
  12. Paul, Herman, and Jean Limbourg. Page with February, 1413-16
    Tilted up ground planeVarious winter activities
  13. Claus Sluter. Well of Moses,Chartreuse de Champmol, Dijon, France. 1395-1406
    • Volumetric bulky figures
    • Mapping of surfaces, textures
    • Heavy woolen garments mask anatomy of figure
  14. Robert Campin, Merode Altarpiece (Triptych of the Annunciation) (open).c. 1425-28
    • made for private devotion (secularization of religion) secondary hidden symbols
    • clean pot, clean towels, Iris and Columbine flowers, walled garden, mouse trap
    • direct observation, lighting, approx. linear perspective oil paint, blending
    • Syncretism
  15. Jan Van Eyck, Ghent Altarpiece completed 1432
    • Polyptych
    • Oil paint, minute depiction of textures and surfaces
    • Gathering of the Saints,
    • New Jerusalem
    • Symbols: Lamb of God, fountain of water of life Adam and Eve symbolize original sin Pelicans in throne tapestry, Symbolic of self sacrifice
  16. Jan van Eyck. Man in a Red Turban. 1433
    Three quarter pose previously reserved for Christ Minute textures
  17. Jan van Eyck. Portrait of Giovanni Arnolfini and His Wife, Giovanna Cenami. 1434
    • Secondary symbols
    • Shoes, Fruit, open bed, dog, candle, mirror, Saint Margaret, Whisk broom
    • functions as marriage document
  18. Rogier van der Weyden, Deposition, 1442
    • Expressionism, intense human emotion, humanizing shallow space
    • composition (tone and shapes in Virgin and Christ)
  19. Rogier van der Weyden. Portrait of a Lady. c. 1460
    • Truthful yet idealizing
    • Simplified surfaces, almost “modern”
    • Three quarter pose after Van Eyck
    • Reveals personality of sitter
  20. Petrus Christus. A Goldsmith (Saint Eligius?) in His Shop. 1449
    • Second genration of Flemish painters
    • Symbols- Scales, mirror
  21. Dirk Bouts. Wrongful Execution of the Count1470-75
    • Early use of linear perspective in North
    • Narratives
    • Emotionless faces
    • Incorporates portraits
  22. Hugo van der Goes. Portenari Altarpiece (open) 1474-76
    • Painted in Flanders and installed in Florence, influenced Italian artists
    • Symbols -15 angels, wheat sheaf, glass beaker, Iris and Columbine flowers, shoes, harp,
    • Mystic Saint Bridget
  23. Lorenzo Ghiberti. Gates of Paradise (East Doors), Baptistry of SanGiovanni, Florence. 1425-52
    • Gilded bronze relief panels
    • Ghiberti also trained as a painter, aerial perspective
  24. Donatello, David. 1446-60 ?
    • First freestanding nude sculpture since antiquity Psychology of subject
    • Hollow cast bronze
  25. Donatello, Mary Magdalen. 1430’s-50’s
    Range of expression
  26. Donatello, Equestrian Monument of Erasmo da Narni, 1443-53
    • First full scale equestrian monument since antiquity Condotirre, Erasmo da Narni,
    • Subtle psychology of subject
  27. Andrea del Verrocchio. Equestrian monument of Bartolomeo Colleoni, 1486-88, cast after 1490
    • Somewhat exaggerated gesture of pose
    • Equestrian monument, comparison with Donatello
  28. Antonio del Pollaiuolo. Hercules and Antaeus. c. 1475
    • Figure in motion, did dissection of human corpses Body as musculo-sceletal machine
    • Later influence on Michelangelo
  29. Fillipo Brunelleschi. Dome of Florence Cathedral 1417-36
    • Invented new machines and building techniques
    • Built without wooden centering, course by course Relies on Gothic/Romanesque vaulting systems Ogival or egg shaped, lantern
  30. Fillipo Brunelleschi. Foundling Hospital, Florence, Italy designed 1419, built 1421-44
    • First Renaissance architect
    • Mathematical, rational proportions
    • Each bay a cube of space -Arch half height of bay, depth of bay equals width Slender smooth columns
    • Horizontality
    • Human scale
  31. Michelozzo di Bartolomeo. Palazzo Medici-Ricardi, Florence. begun 1446
    • Style of Brunelleshi
    • Ascending refinement of masonry
    • Proportional, rational interrelation of parts
  32. Leon Battista Alberti. Palazzo Rucellai, Florence. 1455-58
    • Ascending orders
    • Tall, thin double windows
    • Alberti wrote treatises on Architecture, perspective
  33. Leon Battista Alberti. Facade, Church of Saint’Andrea. Designed 1470
    • Combines Roman triumphal arch and temple pedament Mathematical, regular proportions
    • Interior uses barrel vaulting like Basilica of Constantine
  34. Gentile da Fabriano, Adoration of the Magi, 1423
    • International Gothic in Florence
    • Incorporates new pictorial science Foreshortening
  35. Masaccio. Trinity with the Virgin, Saint John the Evangelist, and Donors, 1425-27/28
    • First use of perspective in monumental painting
    • Brunelleshi probably helped with perspective
  36. Masaccio, Tribute Money, c. 1427
    • Consistent lighting with cast shadows
    • Synoptic sequence
  37. Fra Angelico. Annunciation, fresco. c. 1438
    • Angelic Brother
    • Fuses International Gothic and new pictorial science
  38. Piero della Francesca. Bacci Chapel, Church of San Francesco. Arrezzo. 1454-58
    • Reflected light
    • Architectonic, geometric settings
  39. Andrea Mantegna. Frescoes in the Camera Picta, Ducale Palace, Mantua. 1465-74
    • Extreme linear perspective
    • Di sotto en su
    • First unified architectural illusion (illusionistic windows) since ntiquity -Sets sstage for 17th century tromp l’ oeil architectural illusion
  40. Perugino. Delivery of the Keys to Saint Peter, Sistine Chapel, Vatican, Rome. 1481
    • Human figure in perspective system
    • Architecture and people who are anachronistic to one another
    • Formal foreground grouping, informal, varied poses in distance
  41. Sandro Botticelli. Primavera. c. 1482. Tempera on wood panel.
    • Neo-platinist philosophy- Christian interpretation of pagan themes
    • Tempera, very large scale
    • Commissoned on occasion of a wedding
    • Virgin
  42. Sandro Botticelli. The Birth of Venus, c. 1484-86, Tempera on canvas
    • Neo-Platonic thought
    • Venus as newborn soul, Zephrys as temptation, cloak of salvation
  43. Giovanni Bellini. Virgin and Child Enthroned with Saints Francis, John the Baptist, Job, Dominic, Sebastian, and Louis of Toulouse. c. 1478.Oil on wood panel
    Venitian Color- Shadows have color
  44. Giovanni Bellini. Saint Francis in Ecstasy. c. 1480. Oil on wood panel
    Dominace of landscape in Venitian painting