Art History Test 1

Cimabue's Virgin & Child Enthroned

Feb 25, 1280

Madonna Enthroned with Angels and Prophets || 1280 CE || Cimabue || Church of Saint Trinidad, Florence || Altar pieces become an important part of the Mass because of congregational participation and identification. This particular large-scale altar piece improves upon rendering compared to other tempera pieces. Cimabue achieved something great when he took small icons and made them large using the same traditional techniques.

Proto Renaissance

Period: Feb 25, 1280 to Feb 25, 1306

Giotto's Arena Chapel

Feb 25, 1306

Padua Italy, fresco
Proto-Renaissance Compositions and color arrangement create symmetrical pairing
use of medallions, lapis-blue sky
concentrates on human dimensions, use of gestures and expressions narrate each scene
follows traditional medieval practice, fresco program is full of scens and symbols
viewer experiences events in relation to their own life experiences

Giotto's Kiss of Judas (Arena Chapel)

Feb 25, 1306

Padua, Fresco on wet plaster
The Kiss of Judah || Giotto || 1305 CE || Arena Chapel, Northern Italy || Again, Giotto shows off his ability to sculpt the form using light. These are large panels, requiring Giotto to pay attention to close details. There is great religious significance behind this piece.

Giotto's Madonna & Child

Feb 25, 1310

Giotto di Bondone
Madonna & Child Enthroned
1310
Florence
Italy
Broke from Byzantine style by drawing accurately from life towards naturalistic and realistic
More depth & shading. relied on light and natural form to create linear perspective and 3-D figures on 2-D panel
Good sense of space, huge scale bring's viewer's eyes directly to her while figures are gazing up
Classical Greek and Roman physical appearance Tempera & Gold on wood panel
Tempera
Proto-Renaissance

Brunelleschi designs Florence Cathedral dome

Feb 25, 1417

Cathedral in Florence (with Dome) || Giotto, Brunelleschi || 1462 CE || Florence, Italy || Early Renaissance in Italy || Completed with the dome in the Early Renaissance, the Cathedral in Florence represents renewal of the Classical Spirit in Italy and the atmosphere of competition rising among artists because of the status that art gave wealthy donors. Brunelleschi enters the competition to design the dome for this grand basilica. When he finishes designing it, the design makes sense -- it does

Early Italian Renaissance

Period: Feb 25, 1417 to Feb 25, 1445

Masaccio's Trinity w/ Virgin

Feb 25, 1427

Santa Maria Novella, Florence, Fresco One-point perspective used, with figures scaled within the space
The triangular composition draws the eye in. It shows the emotion, action, and brutal realism. the architecture matched what was painted.
Father, son, and holy spirit (dove on Christ's halo)
Mary brings viewers attention to the trinity
Patrons kneel on the lowest level
view sees a 3-D image, as if reach level recesses

Masaccio's Tribute Money$

Feb 25, 1427

Florence, fresco
Early Italian Renaissance
early use of both linear and atmospheric perspective
clear central focus in group, from which landscape seems to recede naturally into the distance
foster this illusion used linear perspective to depict the house, reinforced by diminishing sizes of trees and Peter on the left
steps create 2nd vanishing point
Fresco. Also, colors fade in distance to simulate lack of definition from viewing through haze

Robert Campin's Annunciation, Merode Altarpiece

Feb 25, 1430

Flanders, oil on wood

Northern Renaissance

Period: Feb 25, 1430 to Feb 25, 1438

Anything in Belgium

Jan van Eyck's Ghent Altarpiece

Feb 25, 1432

Flanders, oil on wood
use of somber color scheme coordinates w/ grisaille statues on bottom
use of oil glazes
3-D mass of figures
simple rooms detail w/ illumintation from windows on second level
panoramic cityscape
sense of vitality, realistic figures with complex draperies

Jan van Eyck's Arnolfini Double Portrait

Feb 25, 1434

Flanders, Oil on wood
International Gothic style, use of oil paint, illumination
gracefully posed figures wearing rich embroidered fabrics, complex headdresses
architectural settings minimized, with extensive detail in nature-> flowers
common Flemish home, spatial recession
intended audience understands religious symbols. Use of light, bright colors, and gold

Rogier van Der Weyden's Deposition

Feb 25, 1438

Flanders, oil on wood Early Renaissance in Northern Europe || Rogier van der Weyden creates very complex compositions. In this piece, he takes the traditional triptych and transforms it. By combining the panels, he allows for a very dynamic composition, condensing the figures and focusing less on the background. Mary mimics Christ's movement and there are figures on each side of them -- creating symmetry. Since this was commissioned by a guild, the symbol of the guild is included in the piece r

Fra Angelico's Annunciation

Feb 25, 1445

Monastery of San Marco, Florence, Fresco

Piero della Francesca's Baptism of Christ

Feb 25, 1450

Urbino Italy, tempura on wood

Italian Renaissance

Period: Feb 25, 1450 to Feb 25, 1486

Lorenzo Ghiberti's Gates of Paradise

Feb 25, 1452

Baptistery of San Giovanni, Florence, gilt bronze commissioned by wool manufacturer's guild. Ten scenes from Hebrew Bible
organized space using linear perspective, one-point perspective, pictoral spaces seem like extensions of viewers real space creating compelling sense of depth
clearly differentiated background and foreground, giving ability to combine a series of related events, separated by narrative time
creates measurable space w/ idealized figures (neoplatonism!!!!!)
puts self-portrait a

Lorenzo Ghiberti's Isaac-Gates of Paradise

Feb 25, 1452

Florence, gilded bronze

Donatello's Equestrian Statue

Feb 25, 1453

Padua, Bronze/marble base portrait of Erasmo da Narni,Venetian army general "condottieri"
shows how tough these mercenaries were
A beast (horse), symbolizes animal passions, and skilled horsemanship involved physical and intellectual control
symbolized "mind over matter"
uses surviving Roman bronze equestrian portraits as a guide
solider up close: sunken cheeks, sagging jaw, ropy neck and sad expression suggest warrior grown old from constant need of military

Donatello's David

Feb 25, 1460

Florence, bronze attentive exploration of human emotions and expression
draws on classical tradition of heroic nudity
angular pose, boyish torso
facial expresses showing fear, uncertainty, sense of victory
first-life size bronze since antiquity
symbol of citizens resolve, to opposes tyrants regardless of their superior power, virtue=devine support & strength

Florence Cathedral finished

Feb 25, 1471

Botticelli's Primavera

Feb 25, 1482

Florence, tempera on wood sculptural figures modeled by light
setting illusionistic by linear perspective
Flemish tapestry, very popular at time
highly complex allegory, interweaves neoplatonic ideas w/ classical sources
suggests love and fertility

Botticelli's Birth of Venus

Feb 25, 1486

Florence, Tempera and gold on canvas
mythological figures
figures created through philosophical speculations on beauty
neoplatonic idea of divine love, nude Venus. classical goddess of love and beauty
venus is alluring figure, intricate hair highlighted with gold
garment embroidered with flowers, suggesting beauty of nature

Leonardo Da Vinci's Last Supper

Feb 25, 1498

Monastery of Santa Maria delle Grazie, Milan, tempera and oil on plaster

High Renaissance

Period: Feb 25, 1498 to Feb 25, 1511

Michaelangelo's Vatican Pieta

Feb 25, 1499

Marble, Vatican City

Raphael's Cowper Madonna

Feb 25, 1505

Florence, oil on wood

Leonardo Da Vinci's Mona Lisa

Feb 25, 1506

Florence, Oil on wood

Raphael's School of Athens

Feb 25, 1511

Rome, fresco

Michaelangelo's Creation of Adam

Feb 25, 1512

Fresco, Sistene Chapel

Michaelangelo's Last Judgement

Feb 25, 1541

Vatican City Sistene Chapel, fresco