Card Set Information

2011-12-08 20:31:30

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  1. Two Figures
    • Drawing
    • 1487-89
    • Florence
    • Ghirlandaio
  2. St. Peter (From Tribute Money)
    • Drawing
    • 1487-89
    • Florence
    • Ghirlandaio
  3. Madonna of the Steps
    • Squashed relief
    • 1490-92
    • Florence
    • Bertoldo di Giovanni
  4. Battle of the Centaurs
    • High relief
    • 1492
    • Florence
    • Lorenzo de Medici
  5. Madonna and Child (Manchester Madonna)
    • Unfinished painting
    • 1488-94
    • Florence
    • Medici or Ghirlandaio
  6. St Petronio
    • Marble statue for Shrine of San Domenico
    • 1495
    • Bologna
  7. St Procolo
    • Marble statue
    • 1495
    • Bologna
  8. Sleeping Cupid
    • Statue
    • 1496
    • Florence; sold in Rome
    • Bought by Rhiario
  9. Bacchus
    • Marble statue
    • 1496-7
    • Rome
    • Commissioned by Rhiario, bought by Galli
  10. Roman Pieta
    • Marble statue
    • 1498-99
    • Rome
    • French Cardinal Jean Villiers de Fezenzac
  11. Entombment of Christ
    • Panel painting
    • ca. 1500-01
    • Rome
    • Bishop Giovanni Ebu's tomb
  12. David
    • Marble statue
    • 1501-04
    • Florence
    • Operai del Duomo
  13. Studies for marble and bronze David
    • Drawing
    • 1502
    • Florence
  14. David (2)
    • Bronze statue
    • Cast in 1508
    • Florence
    • Council of Florence, sent as a gift to France
  15. Taddei Tondo
    • Round marble relief
    • 1503-05
    • Florence
    • Taddeo Taddei
  16. Pitti Tondo
    • Round marble relief
    • 1503-05
    • Florence
    • Bartolommeo Pitti
  17. Battle of Cascina
    • Drawing/modello, template for giant fresco
    • 1504-05
    • Florence
    • Pietro Soderini/Florentine Republic
  18. Bruges Madonna
    • Marble statue group
    • 1503-06
    • Florence
    • Alexandre Mouscron
  19. St. Matthew (one of the 12 apostles)
    • Unfinished statue
    • 1504-08
    • Florence
    • Operai del Duomo
  20. Doni Tondo
    • Panel painting
    • 1506
    • Florence
    • Angelo Doni and his wife Maddalena
  21. Moses in Julius' tomb
    • Marble
    • 1513-16
    • Rome
    • Pope Julius II
  22. Leah in Julius' tomb
    • Marble
    • 1542-45
    • Rome
    • Pope Julius II
  23. Rachel in Julius' tomb
    • Marble
    • 1542-45
    • Rome
    • Pope Julius II
  24. Sistine Chapel
    • Fresco
    • 1508-12
    • Rome
    • Pope Julius II
  25. Pope Leo X's family name was ______________ of _______
    Was Pope from _________
    Commissioned _____(1)______
    Relations with MB: (2)
    • Giovanni de Medici
    • Florence
    • 1513-1521
    • San Lorenzo facade, which was never completed
    • Childhood classmates, but argued over marble
  26. Pope Clement VII's family name was _______ of _____
    Was Pope from _________
    Commissioned: ___(3)___
    Relations with MB: _______
    • Giulio de Medici, Florence
    • 1523-1534
    • Commissioned Medici Chapel, San Lorenzo library, Last Judgment
    • MB's greatest patron, protector, and childhood friend
  27. Pope Paul III's family name was ________ of ________
    Was Pope from __________
    Commissioned: (3)
    Relations with MB: ________
    • Alessandro Farnese, Camino (Rome)
    • 1534-1539
    • Renewed commission of Last Judgment, Pauline Chapel frescoes, St. Peter's
    • Supported MB during the backlash of Last Judgment
  28. Pope Paul IV's family name was ________ of _______
    Was Pope from ________
    Relations with MB
    • Giovanni Pietro Caraffa, Capriglo
    • 1555-1559
    • --
    • Also supported MB during backlash of Last Judgment
  29. Pope Pius IV's family name was _______ of ________
    Was Pope from ________
    Relations with MB:
    • Giovanni Angelo de Medici, Milan
    • 1559-1565
    • --
    • --
  30. Important points of the Sistine Ceiling ancestors (6)
    • Painted in the lunettes, the darkest areas of the ceiling
    • Ramping penetration connects the wall and ceiling both literally and symbolically, Christ's ancestors connect God and the Popes
    • Figures are depicted as family groups of different ages and genders, not just as old men, unprecedented technique
    • Uses color to illuminate figures, acknowledging their dark location with bright, bold hues
    • Invented clothing that was not necessarily accurate
    • Emphasis on loins and procreation
  31. Important points of the Sistine Ceiling's Prophets and Sibyls (4)
    • Hold up the vault, metaphor for their role as foundational beings
    • Occupy the lightest areas of the ceiling, indicating their knowledge
    • Figures are conventionalized, holding books or scrolls as symbols of Christian or Hebrew knowledge, accompanied by angels
    • Figures get much larger as you move from the entrance to the altar wall, balancing out the reduced cast of characters in the adjacent narrative scenes
  32. Important points of the Sistine Ceiling's Separation of Light and Darkness narrative scene (3)
    • One side of God is light, the other is dark
    • Appears to be floating in a void, unstable
    • God has outline of breasts, MB may be playing with the idea that god creates man and woman "out of his own likeness"
  33. Important points of Congregation of the Waters (2)
    • Horizontality
    • Outline of breasts
  34. Important points of Creation of Sun, Moon, and Plants (3)
    • God's arms are in the compass-like position used to create a circular world
    • God's actions follow circular pattern, shown flying toward the plants at the bottom left in a circular route
    • MB shows that motion, time, and growth have now entered the story
  35. Important points of Creation of Adam (6)
    • Adam is seated in a "river god" pose, common in antiquity, actively inativated
    • If God's finger follows the circular pattern, it ends up at woman under his arm, possibly Eve
    • Adam's knee pointed toward the woman may be another allusion to Eve
    • God touches child with his other hand's two fingers, may be Jesus
    • God still has breasts and cinched waist
    • Dark angels may represent those that rebelled against God and prompted the creation of Man
  36. Important points of Creation of Eve (6)
    • Eve represents both scripture stories by masking exactly where she is emerging from
    • Adam sleeps, indicating his prophetic status
    • God is the only one standing upright, barely fits in the frame
    • Eve is created by command, no physical contact
    • God no longer has breast outline, "likeness" has been expressed
    • Eve is both getting up and bending down, in prayer
  37. Important points of Temptation and Expulsion (4)
    • In Temptation, Eve reaches for fruit with twisted torso, and Adam is just as guilty, not "seduced by Eve" as is commonly portrayed
    • Eve points to between her legs, indicating the consequence of sin, which is childbirth
    • In Expulsion, Eve has aged, Adam is crying and fighting off the angel
  38. Important points of Moses from the Julius Tomb (8)
    • Only figure we know of that was planned from the beginning
    • Seated with tablets of law pressed next to him hold him up, like the sling of David--almost part of his body, not held in his hand
    • Both hands hold his beard
    • Hand rested on tablet is in gesture of blessing or speech
    • Furrowed brow, exagerrated eye sockets
    • Horns depict old connection between horn and light (same word in Hebrew), was said to come down from Mt Sinai "horned"
    • One side closed and flat, the other active and open
    • Leans forward with elongated torso to meet the viewer's sightline, indicates he was meant to go on the second story of the tomb
  39. Important points of Leah and Rachel of the Julius Tomb (3)
    • Sisters who became symbols of the active and contemplative life
    • Leah has bunched drapery around her womb, active
    • Rachel's hands clasped in common prayer pose, swaying back and forth
  40. Important points of the Louvre slaves (4)
    • 1513-1516
    • Incomplete, not included in the tomb
    • Shows MB's technique
    • Look as if they are lying down, but seen upright
  41. Important points of the Florentine slaves (4)
    • 1519-1534
    • Never installed in the tomb
    • Some look as if they were meant to be attached somewhere between lower and upper stories
    • Only finished one was the "Victory" figure
  42. Important points of Risen Christ (5)
    • Commissioned 1514 by 3 Roman gentlemen for a church altar, still in Rome
    • Abandoned by MB when he found a black vein in the marble
    • Started a new one 1518-19, completed by his assistant Pietro Urbano
    • Unusual to show full frontally nude Christ as an adult
    • Ambiguous whether cross holds Christ up, or Christ holds the cross up, but active front foot and planted back foot indicate cross is doing the work
  43. Important points of the Medici Chapel in San Lorenzo (6)
    • 1519-1534, Florence
    • MB designed chapel architecture and tombs
    • Chapel design based on Brunelleschi's Old Sacristy
    • Commissioned by Pope Clement VII
    • Tomb statues were continued until MB left Florence for good in 1534, finished and installed by Vasari
    • Tombs of Giuliano and Lorenzo were symbols of the active and contemplative life
  44. Important points of Giuliano's tomb statue (5)
    • Active life
    • Legs apart, activated, ready to rise
    • Hands on baton symbolize rulership
    • Coins in hand symbolize distribution of wealth, leadership
    • Accompanied by Day and Night statues
  45. Important points of Lorenzo's tomb statue (4)
    • Contemplative life
    • One arm turned out, inactivated, the other in a thinking pose
    • Legs leaned back into the niche, elbow leans on coin box, actively inactivated
    • Accompanied by Dawn and Dusk statues, which are "times of contemplation"
  46. Dawn and Dusk statues
    • Depict individuals around MB's age at the time he made them, rather than at their youthful peak
    • Both lying down with heads back, chests open, same arm positions
    • Dawn is in the process of removing her veil ("night"), raising herself in half-dreamy state
    • Dusk is in the process of settling down, leaned back, about to cover himself with night
  47. Day and Night statues (4)
    • Day opens himself up, but still shielded from view
    • Night is exposed, but in the process of closing herself up
    • Night has "nursing breasts," as night was a time of nursing
    • Opposite positions of their Dusk and Dawn counterparts
  48. Important points of Medici Madonna (6)
    • 1521-1534, Florence
    • Not certain of where it was meant to go, but Vasari intalled it in the Medici Chapel with the tombs
    • Not entirely finished
    • Madonna's legs crossed in "rude" gesture
    • Madonna rotates her body to the left, while Jesus darts in the opposite direction
    • Jesus's arms are crossed, one hand reaches for her breast, the other on her shoulder, indicates the dual relationship of mother/son and husband/wife
  49. Important points of Laurentian Library (5)
    • 1521-1534, Florence
    • MB designed architecture of reading room and vestibule
    • Commissioned by Pope Clement VII
    • MB left the project behind when he left Florence for good in 1534
    • Designed staircase in 1533
    • Vestibule completed under MB's supervision via instructions and a model in 1558
    • Dying slave
    • (Louvre)
    • Young slave
    • (Florentine)
    • Rebellious slave
    • (Louvre)
    • Atlas slave
    • Florentine
    • Awakening slave
    • Florentine
    • Bearded slave
    • Florentine
    • Victory
    • Florentine
  50. Risen Christ
  51. Medici chapel
    • Tomb of Giuliano de Medici
    • Day and Night statues
    • Tomb of Lorenzo de Medici
    • Dawn and Dusk statues
  52. Medici Madonna
  53. Vestibule and staircase of San Lorenzo (Laurentian) Library
  54. Reading room of Laurentian library
    • Venus and Cupid, painted by Pontormo from a cartoon by MB
    • 1532-1534, Florence
    • Commissioned by Bettini
    • Pieta for Vittoria Colonna
    • 1546, Rome
    • Crucifixion for Vittoria Colonna
    • 1539, Rome
    • Piazza del Campidoglio
    • 1537-1555, Rome
    • Conversion of St Paul
    • 1542-1545, Fresco for Pauline Chapel, Commissioned by Pope Paul III
    • Vatican Palace, Rome
    • Crucifixion of St Peter
    • 1546-1550
    • Fresco for Pauline Chapel, commissioned by Pope Paul III
    • Vatican Palace, Rome
    • Florentine Pieta
    • 1547-1555, Rome
    • Made on MB's own initiative, but was abandoned due to MB's frustration
    • May have been meant for his own tomb
    • Now in Florence
    • Dome of St. Peter's Basilica
    • 1546-1564, Rome
    • Commissioned by Pope Paul III and successors
    • Rondanini Pieta
    • 1555-1564
    • Rome
    • MB's own initiative
    • Unifinished, last work before MB's death
    • Ganymede cartoon for Cavalieri
    • 1532, Florence
    • Cartoon of Tityus for Cavalieri
    • Florence, 1532
  55. Last Judgment commissioned by _______
    • Pope Clement VII and Pope Paul III
    • 1534-1541, Rome
  56. Important points of MB's Last Judgment Overview (5)
    • Began and completed at two very different periods of religious history
    • Nudity was condemned and covered up
    • Impossible to count the number of figures
    • Figures are all different sizes
    • Different from prior last judgment scenes in its lack of clear "judgment" action, groups of people formed on their own volition, asymmetrical layout, and outnumbering of Hell-bound people by more Heaven-bound
  57. Important points of Jesus in the Last Judgment (5)
    • Hands are ambiguous in their gesture, not clearly judging
    • Not sure if he is sitting or standing
    • Accompanied by Mary, they are surrounded by intimate "inner circle" that includes John the Baptist staring at him and St. Peter (who also symbolizes Moses with his horns of hair)
    • Hairstyle represents Jesus as like "the sun,"/Apollo
    • Represents the 2nd coming of Jesus, establishing eternity
  58. Donato Bramante (3)
    • Knew MB in the 1500s until death, in Rome
    • Always at odds with each other, rivals
    • MB felt Bramante "wronged" him several times regarding the Sistine Chapel and Julius's tomb
  59. Sebastiano Luciano del Piombo (2)
    • Knew MB in Rome during the 1530s
    • Had a falling out with MB over what type of paint to use for the Last Judgment that never got resolved
  60. Jacopo Pontormo (2)
    • Knew MB in the early 1500s on, in Rome
    • Praised by MB in his youth, made a portrait of MB later on, collaborated on the Venus and Cupid
  61. Antonio Mini (2)
    • 1523-1531, Florence
    • MB's pupil and assitant who completed many of his works and made copies
  62. Tommaso de Cavalieri (2)
    • Knew MB from 1532 until MB's death
    • Closest friend and object of MB's love, to whom MB sent many poems and drawings, devoted to MB until his death
  63. Vittoria Colonna (3)
    • Knew MB from 1536 until her death in 1547 in Rome
    • MB's close friend and spiritual mentor who introduced him to spiritual reformers
    • Exchanged poetry and MB sent her drawings
  64. Marcello Venusti (3)
    • Knew MB in Rome
    • Colleague and copyist of MB
    • Made a full-scale copy of Last Judgment before the nudity was painted over