art history

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art history
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  1. Leonardo. The Last Supper, 1495-98
    Fresco, experimented with tempera and oil, technical failureDrama, use of linear perspective to focus attention
  2. Leonardo. Mona Lisa. c. 1503
    sfumato, aerial perspective, imagined landscape based on careful study of nature
  3. Raphael. The Small Cowper Madonna c. 1505.
    Leonardo influence: sfumato/pose, Perugino influence: lighter palette, linear treament, landscape a real place
  4. Raphael. Stanza della Segnatura, Vatican, Rome. 1510-11.
    Portraits of notable contemporariesRealizes BramanteÕs plan for New Saint PetersRaphael used many assistants
  5. Michelangelo. Pieta, c. 1500
    Neo-Platonist philosophy, proportion in the eyes of the artist, Expressionism, mastery of marble
  6. Michelangelo. David. 1501-4
    Expressionism, figura serpentinata, pent up energyDavid represent Florence
  7. Sisitine Chapel, Vatican, Rome. ceiling painted 1508-12
    3,000 sq. feet executed by only the artist himself fresco, male figure, ignudi, architectural illusion of cornice
  8. Micelangelo, Moses
    Originally for tomb of Pope Julius IIFigura serpentinata, massive male figure, heroic, exaggeration of musculature, tomb never completed as intended.
  9. Michelangelo, Bound Slave, 1513-1516
    Soul enslaved by the body (Neo-Platonist) non finito
  10. Soul enslaved by the body (Neo-Platonist) non finito
    "Day" and "Night" allegorical figures, not completed as intended
  11. Donato Branmante. Tempietto, 1502-10
    Axial symmetry, rhythm, Leonardo influence on Bramante in Milan
  12. Michelangelo, Last Judgement, 1534-1541
    Religious fervor after Savanarola, twisting, tortured figures
  13. Antonio Da Sangallo The Younger, Palazzo Farnese, ca. 1530-1546
    High Renaissance Italian Palazzo, more deeply shadowed, "quoins"
  14. Corregio. Assumption of the Virgin, fresco, Parma Cathedral, c. 1526-30
    Expands on Mantegna's illusion, di sotto en su, paints away Parma Cathedral ceiling, plastic quality of color (warm vs cool)
  15. Giovanni Bellini, San Zacaria Altarpiece, 1505
    colorito eastern understanding of color, complimentssoft modeling, color in shadows
  16. Giorgione. The Tempest. 1505-10
    Dominance of landscape, person symbology, secular art, poetic, Mystery
  17. Titian. Pesaro Madonna. 1519-26
    Compositional diagonal pressages Baroque
  18. Titian. Venus of Urbino. c. 1538.
    Master of painting flesh, compositional diagonal, pendant figure, Secular
  19. Dome of New Saint Peters, Michelangelo
    Colossal order, deeply shadowed facade
  20. Paolo Veronese, Christ in the House of Levi, ca. 1573
    Very large scale, accused of impiety by inquisition, changed title
  21. Giacomo Della Porta, facade of Il Gesu, ca. 1575-1584
    Combines two temple fronts in one facade, use of scrolls, home of the Jesuits (Society of Jesus), would be very influential in Baroque (next century)
  22. Pontormo. Entombment. 1525-28
    Mannerism, after Michelangelo, but ignorant of ancients,Extremely elongated proportions, harsh color
  23. Parmagianino, Madonna with the Long Neck, ca. 1535
    Mannerist, hands and feet, spatial ambiguity
  24. Bronzino, Portrait of a Young Man, ca. 1530Õs
    Mannerist portrait reveals nothing of psyche, hands
  25. Bronzino, Venus, Cupid, Folley and Time, ca. 1546
    Intense, disharmonious color, hands and feet, allegory
  26. Benevuto Cellini. Saltcellar of Francis I. 1539-43
    Mannerist sculptor
  27. Sofonisba Anguissola, Self-Portrait,c. 1554
    Woman artist, portraitist
  28. Lavinia Fontana. Noli Me Tangere. 1581
    Important female artist of the century, Mannerist
  29. Andrea Palladio, San Giorgio Maggiore, begun 1565
    Mannerist takes liberties with classical modelscombines tall vertical temple front with low horizontal superimposed
  30. Andrea Palladio, Villa Rotunda ca.1566-70
    Combines 4 temple fronts with central plan, Mannerist
  31. Nikolaus Hagenauer. Saint Anthony Enthroned Between Saints Augustine And Jerome, Shrine of the Isenheim Altarpiece c. 1500
    Carved wood shrine, painted and gilded, behind altarpiece
  32. Matthias Grunewald. Isenheim Altarpiece, c. 1510-15
    Polyptych, expressionism, Mystic Saint Bridget of Sweeden
  33. Albrecht Durer. Four Horsemen of the Apocolypse, 1497-98
    Woodcut, graphic arts, Revelations
  34. Albrecht Durer. Adam and Eve, 1504
    Engraving, intaglio, copper plate, Italian understanding of anatomy
  35. Albrecht Durer. Four Apostles, 1526
    Leonardo of the North, synthesis of Northern and Italian Renaissance
  36. The Burial of the Count of Orgaz, 1586-88
    Oil on canvasEl Greco from Crete, trained in Venice and Rome, moves to ToledoMannerist heaven, Renaissance Earthly figures
  37. El Greco, view of Toledo, c. 1610
    Venice, landscape, Giorgione
  38. Albrecht Altdorfer. Danube Landscape. c. 1525
    Cosmographical, elevated viewpoint, minute detail
  39. Jean Clouet, Portrait of Francois I, King of France 1525-30
    Propoganda, image of power, flat modeling
  40. Rosso Fiorentino, Gallery of Francis I. 1534-39
    Italian Mannerism in France, combine scupture and painting, oplulence
  41. Pierre Lescot and Jean Goujon, west facade of the Square Court of the Louvre, begun 1546
    Large windows, pavilion, double pilasters with sculpture niche, ornament, Mansard roof
  42. The Escorial, by Juan Bautista de Toledo, Juan de Herrera, near Madrid, Spain, 1562 to 1584.
    Influence of Italian Renaissance Arch. Saint Peter’s Rome, Burial place for Spanish Royalty as well as monastery and palace, austere interpretation of Italian Palazzo elevations
  43. Hieronymus Bosch, Garden of Eartly Delights, 1505-1510
    Secular commission, alchemy, symbols of passion and fertility/sexuality, hell
  44. Catarina Van Hemessen, Self-Portrait, 1548
    Portraitist, accomplished woman artist, trained by her father
  45. Pieter BRUEGEL, the Elder, Hunters in the Snow, 1565. Oil on oak panel
    Bosch, cosmographical, elevated point of view, many figures, diagonal recession into space
  46. Hans Holbein the Younger, Henry VIII, 1540. Oil on wood panel
    Fine, enamel like surface, Tudor court of Henry VIII
  47. Levina Teerlinc, Elizabeth I as Princess, ca. 1559
    Portraitist in court of Henry VIII, minatures

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