Figure 19-5, BONAVENTURA BERLINGHIERI, panel from the Saint Francis Altarpiece, 1235.
-It depicts the stigmata as well as several scenes from the saint's life.
-there is holes on his hands & feet that are the same wounds as jesus
-the scene remind me of stages when christ was crusfied.
Figure 19-7, CIMABUE, Madonna Enthroned with Angels and Prophets, 1280–1290.
-Byzantine art mainly used for decoration, and utilized it to create the folds in Mary’s robes, giving her a more fleshed out and humanistic figure.
-giving it a more realistic three-dimensional feel by receding into space.
-when mary would stand up she would be larger than anyone in that painting.
-the size of jesus right but his features don't look baby like, he looks more of having grown up features.
Figure 19-8, GIOTTO DI BONDONE, Madonna Enthroned, 1310.
-striking realism and utter humanity.
-throne is expensive looking
-everyone is stacked so it gives a illusion of depth
-mary is over sized compared to everyone else making her the important person in the piece.
-there is more attention to detail with clothing folds making it the illusion of space
Figure 19-9, GIOTTO DI BONDONE, Lamentation, Arena Chapel, ca. 1305.
- landscape moves our eyes down to mary and christ.
- there is a movement with mary as you can feel the emotion of what she is going through.
- the two people that have their backs toward us draws our eye in the direction they are looking at which is to christ.
- bright colors on the people and angels making it seem to be more grounded and materialistic
Figure 19-18, ARNOLFO DI CAMBIO and others, Florence Cathedral (aerial view looking northeast), Florence, Italy, begun 1296.
-translated their pride in their predominance into landmark buildings
-florence cathedral, recognized as the center for the most important religious observances.
-the church was intended to be the most beautiful and honorable church
- in a way the big dome remindes me of a crown, as there was nothing like it at the time it was seen as the top of the line and holy ground as it was that great.
Figure 20-1 JAN VAN EYCK, Giovanni Arnolfini and His Bride, 1434.
-expensive clothing showing wealth
-the dog is a rare breed which is another indicatior of their wealth.
-the oranges in the corner we rare to see in paintings at the time
-the mirror in the back shows a different view of the room and it's so little but it shows detail of everyone
- the mirror as tiny images of the stages when jesus was being crusified but they are too small to be seen. it can repsent god watching them even though they are moving towards the materialistic world instead of the spiritual world.
Figure 20-7, JAN VAN EYCK, Man in a Red Turban, 1433.
-seems like he is showing of based on his pose and look of stature.
- the hat refiences in the east/ancient world
-greek & arabic in the writing are mixed
- his turban wouldn't be found in his location which is weird
- the mix of cultures in the painting suggest that he is international/ blended. A very naturalistic way of thinking and displaying himself as knowledgable
Figure 21-2, FILIPPO BRUNELLESCHI, Sacrifice of Isaac, 1401–1402.
-the angel looks dramtic as it looks as if he just swooped down and intesly grabbed abraham just in time to save issac.
-there is an intensity with how the father is holding his son where it is forcefull as the boy is twisted.
- landscape of the backgorund seems to be on all teh same level as there isn't a lot of distance or space
Figure 21-12, DONATELLO, David, 1440-1460.
-feminene in appreance and stance
-erotic with feathers
- not a biblical david described
Figure 21-28 SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486.
-humility of the naked body but the exotericism of the female body.
-devoted to the goddess ready for her rebirth with a beautiful robe.
-Botticelli uses very linear lines in the birth of Venus all of the figures are on same plan going from one end to the other giving the painting a very linear feel.
-He keeps the foreground, middle ground, and background in the same focal plane giving the painting a very deep depth of field.
Figure 22-2 LEONARDO DA VINCI, Madonna of the Rocks, 1483.
-angel is hermafidite
-babies bodies seem unrealistic to how a real baby is sized.
-emphasis on mary's womb.
nature in teh background represents the womb
- which baby is jesus????????
Figure 22-4, LEONARDO DA VINCI, The Last Supper, 1495-1498.
- john looks like he can be mistaken as mary because he looks like a girl
-no halos which is a
- geometric shapes which in the piece like jesus outline is a
-there are four groups of three around jesus which helps orgaize and the individual story and drama
Figure 22-5, LEONARDO DA VINCI, Mona Lisa, 1503-1505.
- pose shows a safitsicated sataus
- nature is a important feature becasue it takes the whole background
- looks very alluring
- repreents nature as a artisicratic way
1. Name of artist, if any: LEONARDO DA VINCI
2. Title: Mona
3. Date (+-5): 1503-05
Figure 22-9, RAPHAEL, School of Athens, 1509-1511.
- high reinssance
- geometric shapes through the piece
-applo and athenia are the statues on the sides that represent the arts and knoledge.
-there are many figures there and it's like a celabration for them as they are the greats that inspire the renisance.
- everyone has a idividual stance which makes it normal and natural movement.
Figure 22-12, MICHELANGELO BUONARROTI, Pieta, ca. 1498-1500.
- mary is larger than life.
- jesus even in death look beutful and look like he is sleeping
-michelangelos name in in the sach of mary as attention getter so people know that it is his work, which is very egotistical
-mary takes up the whole space and alothough jeusu is supposed to be the main person in the piece, marys size commandes the audiences attentions
- best appreance of david alothugh not accurate from the bible
-posing more than reffrencing the story scene
-stance shows confidence as if he was the hero that everyone always rooted for even though he was the underdog.
Figure 22-18, MICHELANGELO BUONARROTI, Interior of the Sistine Chapel, 1473.
- erotic with nudity
- different stances makes a lot of movement
-jesus looks too buff and humanized to be the bibilcal jesus
- mary is curved in a way that is sensual
Figure 22-19, MICHELANGELO BUONARROTI, Creation of Adam detail of the ceiling (FIG. 22-1) of the Sistine Chapel, 1511–1512.
- not a bibical refrence in the story
- god looks more like zeus
- the circle god is combing from reminds me of teh womb and nature
- the fingers that are about to touch makes me feel that it is about contact and the flesh that is being contacted with
Figure 22-35, GIORGIONE DA CASTELFRANCO (and/or TITIAN?), Pastoral Symphony, ca. 1508–1510.
-imaginary apparition representing the ideal beauty, stemming from the two men's fantasy and inspiration.
- peopel represent types of poetry based on the items they hold.
-immortal females seem to be present yet invisible in the presence of the men at the particular moment being portrayed.
-overly plump by modern-day conceptions of ideal body form,
-no artist painted a nude woman from that perspective from the back
Figure 22-38, TITIAN, Madonna of the Pesaro Family, 1519-1526, Venetian.
Figure 22-43, PARMIGIANINO, Madonna with the Long Neck, 1534-1540.
Figure 22-47, TINTORETTO, Last Supper, 1594.
- emaphsis on woman
Figure 23-6 ALBRECHT DÜRER, Four Apostles, 1526.
-paul and john were martins luthers favorite apostles
-peter seems to be a servant to john as he is learning from his book, almost bowing down to him.
-bible was unlocked as showing everyone can now be closer with god
- mark looks terified maybe becasue of teh church being split at the time.
Figure 23-7 LUCAS CRANACH THE ELDER, Allegory of Law and Grace, ca. 1530.
Figure 23-9 HANS HOLBEIN THE YOUNGER, The French Ambassadors, 1533.
Figure 23-15 QUINTEN MASSYS, Money-Changer and His Wife, 1514.
Figure 23-25, EL GRECO, Burial of Count Orgas, 1586.
Figure 24-3 CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612.
Figure 24-4 Aerial view, Saint Peter’s, Vatican City, Rome, Italy. Piazza designed by GIANLORENZO BERNINI, 1656-1667.
Figure 24-7, GIANLORENZO BERNINI, David, 1623.
Figure 24-8 GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1652.
Figure 24-5 GIANLORENZO BERNINI, baldacchino, Saint Peter’s, Vatican City, Rome, Italy, 1624–1633.
Figure 24-17, CARAVAGGIO, Conversion of St. Paul, 1601.
Figure 24-30, DIEGO VELAZQUEZ, Las Meninas, 1656.
-mirror represents us because the king and queen is in teh reflection of the mirror
- there are a lot of glances being passed to direction of the audience
- this isn't a potirat becasue it is informal
- it shows a moment captured from within the place
Figure 25-1 JAN VERMEER, Allegory of the Art of Painting, 1670–1675.
- modern painting as a artist is pinting another artist
- blankets indicate wealth
- map refers to knowledge
Figure 25-2, PETER PAUL RUBENS, Elevation of Christ, 1610.
- feel the physical weight of jesus-each individual painting represents a different scene of people reacting or doing while jesus is being crusified
-there are a lot linear lines directing to jesus
Figure 25-14, REMBRANDT VAN RIJN, Return of the Prodigal Son, 1665.
- dark area that takes up the space emphasis the characters
- holy light being shinned?
detail on clothign you see it relates to the story as the comes back home
-people in teh back direction forces us to look where they are looking
Figure 25-29, GEORGES DE LA TOUR, Adoration of the Shepherds, 1645-50.
Name of artist, if any: GEORGES
DE LA TOUR
Title: Adoration of the
Date (+-5): 1645-50
Analysis/description: it’s difficult to see this picture as a religious
painting because there are no halos present. With no Jesus looks very constricted and he looks very sickly. The
wrapping reminds me of Egypt as he would be mummified, although the purpose of
the wrapping isn’t to be a mummy.
Everyone looks high class or has status
based on their posture and clothes
The lady in red looks more asian inspired.
There is a a sense of international quality of the different people that are in
Figure 25-30, HYACINTHE RIGAUD, Louis XIV, 1701.
-expensive clthing and blanket
-detail with blanket looking silky to the touch
-full body portiat were expensive so it showed weatlth
- symbol on the blue cloth shows status as only yhr royal families wore that symbol
Figure 25-32, aerial view of VERSAILLE, France, begun 1669.
- symmetrical similar
- wide space in the middle for gatering in whorship
- statue in the middle representing it as the absolute center of the of france
Figure 25-33, JULES HARDOUN-MANSART and CHARLES LE BRUN, Hall of Mirrors, Versailles, 1680.
- look at this and you think of richness
- gemoetirical symmetrical
- the mirrors reflect the windows making the room appear bigger
-top to bottom your eye is drawn to the lights, painting and gold that surround the hall as what mirrors do when they reflect back
thought attaching prime importance to human rather than divine or supernatural matters. Humanist beliefs stress the potential value and goodness of human beings, emphasize common human needs, and seek solely rational ways of solving human problems
reminder of death).
power of floance
deceives the eye”)
Di sotto in su,
“from below upward”). (looking up)
medieval craft guilds by living together
and practicing all the arts equally.
place of rural peace and
The Great Schism (1378)
Roman Catholic Church split when the King of France decided that he did not like the Italian Pope and elected one of his own. The Great Schism, as it has been called, lasted for about 68 years, during which time there were two popes claiming authority over the Catholic Church.
a group of person living under a religious rule; "the order of Saint Benedict"
Augustinian order - any of several monastic orders observing a rule derived from the writings of St. Augustine
Dominican order - a Roman Catholic order of mendicant preachers founded in the 13th century
Franciscan order - a Roman Catholic order founded by Saint Francis of Assisi in the 13th century
Carmelite order, Order of Our Lady of Mount Carmel - a Roman Catholic mendicant order founded in the 12th century
Space Shuttle External Tank
She who shows the Way
Artists using atmospheric (sometimes called aerial) perspective
a style in art during the late 14th and early 15th centuries characterized by elegant stylization of illuminated manuscripts, mosaics, stained glass, etc, and by increased interest in secular themes.
strong contrasts between light and dark
Central Plan vs. Longitudinal Plan – referring to church architecture,
The Longitudinal-Plan consists of elongated narrow structures. It has a horizontal axis to alter.
The central plan : The differences are instead of having a horizontal axis the Central –Plan is on a vertical axis.
person's particular way of talking or moving.
Sack of Rome (1527),
The Sack of Rome on 6 May 1527 was a military event carried out by the mutinous troops of Charles V, Holy Roman Emperor in Rome, then part of the Papal States.
the Protestant Reformation.
the action of attacking or assertively rejecting cherished beliefs and institutions or established values and practices.
The Protestant Reformation (also know as the Protestant Revolution) was the schism within Western Christianity initiated by Martin Luther, John Calvin, and other early Protestants.
Council of Trent,
prompted by the Protestant Reformation and since described as the embodiment of the Counter-Reformation, was one of the Catholic Church's most important ecumenical councils
The Thirty Years’ War,
was a series of wars principally fought in Central Europe, involving most of the countries of Europe. It was one of the most destructive conflicts in European history, and one of the longest continuous wars in modern history.
Treaty of Westphalia,
denotes a series of peace treaties signed between May and October of 1648 in Osnabrück and Münster. These treaties ended the Thirty Years' War (1618–1648) in the Holy Roman Empire, and the Eighty Years' War (1568–1648) between Spain and the Dutch Republic.
used exaggerated motion and clear, easily interpreted detail to produce drama, tension,
was the period of Catholic revival beginning with the Council of Trent (1545–1563) and ending at the close of the Thirty Years' War (1648), and was initiated in response to the Protestant Reformation.
where there are violent contrasts of light and dark and where darkness becomes a dominating feature of the image.
area in which light and shade blend
marble sculptures of heads.
having, consisting of, or relating to a physical material body: asa : not spiritual
paths created or implied within an artwork that lead the eye through the composition
illumination of objects from a light source at an oblique angle or almost parallel to the surface
a darkened box with a convex lens or aperture for projecting the image of an external object onto a screen inside. It is important historically in the development of photography.
a still-life painting
upon living models, including the artists themselves, relatives or colleagues
ordinary life, especially domestic situations.
society with highly trained professionals in the field of art and culture
Architectural Floor Plan (matching)
Old St. Peter’s Rome, Italy, ca. 319 / NAVE / AISLES / APSE / TRANSEPT