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  1. Figure 19-5, BONAVENTURA BERLINGHIERI, panel from the Saint Francis Altarpiece, 1235.
    • Name of artist, if any: BONAVENTURA
    • BERLINGHIERI

    • Title: Saint
    • Francis Altarpiece

    Date (+-5): 1235


    • -It depicts the stigmata as well as several scenes from the saint's life. 
    • -late medevil
    • -there is holes on his hands & feet that are the same wounds as jesus
    • -the scene remind me of stages when christ was crusfied.
  2.  Figure 19-7, CIMABUE, Madonna Enthroned with Angels and Prophets, 1280–1290.
    Name of artist, if any: CIMABUE

    • Title: Madonna Enthroned
    • with Angels and Prophets

    Date (+-5): 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.
    • -proto- renaissance
    • -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.
  3.  Figure 19-8, GIOTTO DI BONDONE, Madonna Enthroned, 1310.
    • Name of artist, if any: GIOTTO
    • DI BONDONE

    Title: Madonna Enthroned

    Date (+-5): 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
  4.  Figure 19-9, GIOTTO DI BONDONE, Lamentation, Arena Chapel, ca. 1305.
    • Name of artist, if any: GIOTTO
    • DI BONDONE

    Title: Lamentation

    Date (+-5): 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.
    • - medievial
    • - 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
  5.  Figure 19-18, ARNOLFO DI CAMBIO and others, Florence Cathedral (aerial view looking northeast), Florence, Italy, begun 1296.
    • Name of artist, if any: ARNOLFO
    • DI CAMBIO and others

    Title: Florence Cathedral

    Date (+-5):  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.
  6.  Figure 20-1 JAN VAN EYCK, Giovanni Arnolfini and His Bride, 1434.
    Name of artist, if any:  JAN VAN EYCK

    • Title: Giovanni Arnolfini
    • and His Bride

    Date (+-5): 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.
  7.  Figure 20-7, JAN VAN EYCK, Man in a Red Turban, 1433.
    Name of artist, if any:  JAN VAN EYCK

    Title: Man in a Red Turban

    Date (+-5): 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
  8.  Figure 21-2, FILIPPO BRUNELLESCHI, Sacrifice of Isaac, 1401–1402.
    Name of artist, if any: FILIPPO BRUNELLESCHI

    Title: Sacrifice of Isaac

    Date (+-5): 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
  9.  Figure 21-12, DONATELLO, David, 1440-1460.
    Name of artist, if any: DONATELLO

    Title: David,

    Date (+-5): 1440-1460


    • -fancy
    • -feminene in appreance and stance
    • -erotic with feathers
    • - not a biblical david described
    • -homosexual
  10.  Figure 21-28 SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486.
    • Name of artist, if any: SANDRO
    • BOTTICELLI,

    Title: Birth of Venus,

    Date (+-5): 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.
    • -
  11.  Figure 22-2 LEONARDO DA VINCI, Madonna of the Rocks, 1483.
    • Name of artist, if any: LEONARDO
    • DA VINCI

    Title: Madonna of the Rocks,

    Date (+-5): 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????????
  12.  Figure 22-4, LEONARDO DA VINCI, The Last Supper, 1495-1498.
    • Name of artist, if any: LEONARDO
    • DA VINCI,

    Title: The Last Supper,

    Date (+-5): 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
  13.  Figure 22-5, LEONARDO DA VINCI, Mona Lisa, 1503-1505.
    • Name of artist, if any: LEONARDO
    • DA VINCI,

    Title: Mona Lisa

    Date (+-5): 1503-1505. 


    • -hermafidite look
    • - 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
    • Lisa

    3. Date (+-5): 1503-05 

    4. Analysis/description:
  14.  Figure 22-9, RAPHAEL, School of Athens, 1509-1511.
    Name of artist, if any: RAPHAEL

    Title: School of Athens

    Date (+-5): 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.
  15.  Figure 22-12, MICHELANGELO BUONARROTI, Pieta, ca. 1498-1500.
    • Name of artist, if any: MICHELANGELO
    • BUONARROTI

    Title: Pieta,

    Date (+-5): 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
  16.  Figure 22-13, MICHELANGELO BUONARROTI, David, 1501–1504.
    • Name of artist, if any: MICHELANGELO
    • BUONARROTI

    Title: David

    Date (+-5): 1501–1504. 


    • - renissicane, classical
    • - 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.
  17.  Figure 22-18, MICHELANGELO BUONARROTI, Interior of the Sistine Chapel, 1473.
    • Name of artist, if any: MICHELANGELO
    • BUONARROTI,

    • Title: Interior of the Sistine
    • Chapel,

    Date (+-5): 1473. 


    • -chatioc
    • - 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
  18.  Figure 22-19, MICHELANGELO BUONARROTI, Creation of Adam detail of the ceiling (FIG. 22-1) of the Sistine Chapel, 1511–1512.
    • Name of artist, if any: MICHELANGELO
    • BUONARROTI

    • Title: Creation of Adam /Sistine
    • Chapel

    Date (+-5): 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
  19.  Figure 22-35, GIORGIONE DA CASTELFRANCO (and/or TITIAN?), Pastoral Symphony, ca. 1508–1510.
    • Name of artist, if any: GIORGIONE
    • DA CASTELFRANCO

    Title: Pastoral Symphony

    Date (+-5): 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
  20.  Figure 22-38, TITIAN, Madonna of the Pesaro Family, 1519-1526, Venetian.
    Name of artist, if any: TITIAN

    • Title: Madonna of the
    • Pesaro Family

    Date (+-5): 1519-1526
  21.  Figure 22-43, PARMIGIANINO, Madonna with the Long Neck, 1534-1540.
    Name of artist, if any: PARMIGIANINO

    • Title: Madonna with the
    • Long Neck

    Date (+-5): 1534-1540
  22.  Figure 22-47, TINTORETTO, Last Supper, 1594.
    Name of artist, if any:  TINTORETTO

    Title: Last Supper

    Date (+-5): 1594


    • - theater
    • - brothal
    • - emaphsis on woman
    • - movement
  23.  Figure 23-6 ALBRECHT DÜRER, Four Apostles, 1526.
    • name: of artist, if any: ALBRECHT
    • DÜRER

    Title: Four Apostles

    Date (+-5): 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.
  24.  Figure 23-7 LUCAS CRANACH THE ELDER, Allegory of Law and Grace, ca. 1530.
    • Name of artist, if any: LUCAS
    • CRANACH THE ELDER

    • Title: Allegory of Law and
    • Grace

    Date (+-5):  1530.
  25.  Figure 23-9 HANS HOLBEIN THE YOUNGER, The French Ambassadors, 1533.
    • Name of artist, if any: HANS
    • HOLBEIN THE YOUNGER

    • Title: The French
    • Ambassadors,

    Date (+-5): 1533
  26.  Figure 23-15 QUINTEN MASSYS, Money-Changer and His Wife, 1514.
    • Name of artist, if any: QUINTEN
    • MASSYS,

    • Title: Money-Changer and
    • His Wife,

    Date (+-5): 1514
  27.  Figure 23-25, EL GRECO, Burial of Count Orgas, 1586.
    • Name of artist, if any: ,
    • EL GRECO

    • Title: Burial of Count
    • Orgas

    Date (+-5): 1586
  28.  Figure 24-3 CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612.
    • Name of artist, if any: CARLO
    • MADERNO

    Title: Saint Peter’s

    Date (+-5): 1606–1612
  29.  Figure 24-4 Aerial view, Saint Peter’s, Vatican City, Rome, Italy. Piazza designed by GIANLORENZO BERNINI, 1656-1667.
    • Name of artist, if any: by
    • GIANLORENZO BERNINI

    • Title: Saint Peter’s,
    • Vatican City

    • Date (+-5): Saint
    • Peter’s, Vatican City
  30.  Figure 24-7, GIANLORENZO BERNINI, David, 1623.
    • Name of artist, if any: GIANLORENZO
    • BERNINI

    Title: David,

    Date (+-5): 1623
  31.  Figure 24-8 GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1652.
    • Name of artist, if any: GIANLORENZO
    • BERNINI

    • Title: Ecstasy of Saint
    • Teresa

    Date (+-5): 1645–1652.
  32.  Figure 24-5 GIANLORENZO BERNINI, baldacchino, Saint Peter’s, Vatican City, Rome, Italy, 1624–1633.
    • Name of artist, if any: GIANLORENZO
    • BERNINI

    Title: baldacchino

    Date (+-5): 1624–1633
  33.  Figure 24-17, CARAVAGGIO, Conversion of St. Paul, 1601.
    Name of artist, if any: CARAVAGGIO

    • Title: Conversion of St.
    • Paul

    Date (+-5): 1601
  34.  Figure 24-30, DIEGO VELAZQUEZ, Las Meninas, 1656.
    • Name of artist, if any: DIEGO
    • VELAZQUEZ

    Title: Las Meninas

    Date (+-5): 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
  35.  Figure 25-1 JAN VERMEER, Allegory of the Art of Painting, 1670–1675.
    • Name of artist, if any: JAN
    • VERMEER

    • Title: Allegory of the Art
    • of Painting,

    Date (+-5): 1670–1675


    • - modern painting as a artist is pinting another artist
    • - blankets indicate wealth
    • - map refers to knowledge
  36.  Figure 25-2, PETER PAUL RUBENS, Elevation of Christ, 1610.
    • Name of artist, if any: PETER
    • PAUL RUBENS

    Title: Elevation of Christ

    Date (+-5): 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
  37.  Figure 25-14, REMBRANDT VAN RIJN, Return of the Prodigal Son, 1665.
    • Name of artist, if any: REMBRANDT
    • VAN RIJN

    • Title: Return of the
    • Prodigal Son

    Date (+-5): 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
  38.  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
    • Shepherds

    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
    • the painting.
  39.  Figure 25-30, HYACINTHE RIGAUD, Louis XIV, 1701.
    • Name of artist, if any: HYACINTHE
    • RIGAUD

    Title:  Louis XIV

    Date (+-5): 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
  40.  Figure 25-32, aerial view of VERSAILLE, France, begun 1669.
    Name of artist, if any: ????????????????

    Title: VERSAILLE

    Date (+-5): 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
  41.  Figure 25-33, JULES HARDOUN-MANSART and CHARLES LE BRUN, Hall of Mirrors, Versailles, 1680.
    • Name of artist, if any: JULES
    • HARDOUN-MANSART and CHARLES LE BRUN,

    Title: Hall of Mirrors,

    Date (+-5): 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

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