Mannerism to Indian Art

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Mannerism to Indian Art
2011-02-15 22:58:38
mannerism campbell

Part 3 of Exam 1 key images
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    • Parmiginanio, Madonna with the Long Neck, oil/panel, ca 1535
    • unnaturally proportioned figure of Mary: massive legs and lower torso contrast with her narrow shoulders and long neck and fingers, the child has the pose of a dead christ, unfinished (just a foot of one saint), off perspective, asymmerical, voided center, cenpentripacul (composition spirals out from the center), sqialing massive bodies (from Mich)
    • Guilo Romano, Palazzo del Te and Fall of the Giants, Fresco, 1527-1534
    • devoted more space to gardens, pools and stables than residential living, rules of archetechture are broken, a joke
    • trompe-l'oeil, building/world crashing down around you (is how artist felt at the time), gigantomachy (war between the gaints and the gods)
    • Titan, Venus of Urbino, oil/canvas ca 1538
    • mythology and seductiveness or marriage? provocative gestures, glowing flesh, golden hair set off by the white sheets and pillow/ cassoni, bridal symbolism of myrtle and roses, spanial is a symbol of ferdility, servants opening a cassone/wedding chest, modeled after modest Venus figure, allegory of the marriage, curtain = erotic
    • Palladio, Villa Rotunda, Vicenza, ca 1560
    • country home/.pleasure palace, very open for social space, four enterances, little private interior , based on greek cross plan (rather than latin), based on the pantheon from the temple like front decorated with statues, christian & narture + pagan & nature = new arch., influnced monticello (Jefferson's house), domed in the middle, feel the nature come inside
    • Pontormo, Entombment, Capponi Chapel
    • hallmarks of early mannerist painting, tondi - circular painting, smoky ground and cloudy sky give no sense of location or grounding for the figures, pale pastel colors, odd poses and drastic shifts in scale, voided center, gestures move around in circle, non-realistic positions, bright colors that Mich used,
    • Michelangelo, Last Judgement, Sistine Chapel, 48 ft high
    • Broke away from the traditional organized scene of the last judgement to paint a "writhing swarm of resurrected humanity"
    • Benvenuto Cellini, Saltcellar
    • Neptune is the source of the salt while the Earth gaurds the pepper, representation of the seasons and times of day lead to daily meal schedules, two figures lean away from each other but are connected through glances, gestures, and coordinated poses, mannerist in the elongated bodies and small heads
    • Bronzino, Allegory with Venus and Cupid
    • has the syle of mannerist art, erotic attachments
    • 1 victim of syphilis - could be a warning of the dangers through coitus, kissing, and breast feeding (cupid and venus)
    • 2 warning of the dangers of illict sexual liaisons
    • was a gift to King Francis I of France from Duke Cosimo
    • Pala Dynasty, The Bodhisattva Avalokiteshvara, 12th c
    • Buddha saint of ulitmate compassion the last person to achieve enlightenment, meant and ready to teach known from the symbol of his hand, wheel of dhrama or truth exposed in an open gesture, shows charity and discussion, lotus flowers are a symbol of enlightenment
    • Nayak Dynasty, Outer Gopura of the Minakhi-Sundareshvara Temple, 13-17th c
    • place of business, enterance to the temple complex, stecco figures built up, remade every 12 years, on top is the gaurdian deities, no shrine inside, 11 gopura, brightly painted, Hindu
    • Mughal, Taj Mahal, 1631-48
    • blends lots of traditions together, funerary momument for Shah Jahan's wife, made out of marble not red sand stone of the time, massive expense, four part garden structure, islamic chattris on top of the minarets and half-shaped moon
    • Cenotaphs of Shah Jahan and Mumtaz Mahal are not the actual coffins
    • Mughal, Akbar Inspecting the Construction of Fatehpur Sikri, c 1590
    • crowded, highradalitic perspective (biggest people the most important), Akbar as at the top so the painting is meant to be read top to bottom, flat, intuative perspective (high horizon line), asymmerical, everyday figures, shows how building was built
    • Seated Sukhotai Bronze Buddha or Buddha Calling the Earth to Witness
    • difference between Hindu and Buddha is her has long ears because Buddha was born into royality who weighted down by jewlery, ushnisha - top knot, urna - third eye, filled with prana or the breathe of life showen in his extended belly, earth - touching and meditation, mudra - universal hand symbols combine together to create multipul meanings
    • Tibet, Achala, 19th c
    • tangka painting or scroll like, Achala wrathful deitie associated with truth, resolve, and of overcoming obstacles, on a lotus petal to establish his ethereal nature, background suggests the material world and cosmic geometry that goes with Tantric Buddhism, the repeated figures emphasizes the power of the image
    • Mughal, Hour of Cowdust, c 1790
    • krishna the deity of sex and love herding cows, rising horizon line, soft pastel colors, rajput painting, very flat, iconic, religious in nature, proportioned
  1. Panel from a Box
    • Nayak Dynasty, Panel from a Box, 17-18c
    • shows couples under the arches of the palace of Tirumala Nayak, huge eyes = intense gaze, profile view shows off their long noses and thick lips, hair tightly controlled, couples of high status, positions desgined to show off jewlery, smybolize harmony and fertility, secular art