image identifications mid term

8/6/2019 Image Identifications Mid Term

1/23

14th Century Italy

- Beginning of Renaissance-

Emergence of humanism,

emphasis on the classics

Bonaventure Berlingheri. Saint

Francis Alterpiece 1235- worked initalo-Byzantine style

Cimbaue. Madonnas Enthroned with

angels and Prophets 1280-90

Giotto Madonna Enthroned. 1310-

first Renaissance painter, naturalistic

approach

Duccio, Virgin and Child Enthronedon

panel ofMaesta Altarpiece 1309-1311

-Showed naturalism-Individualized the

faces and softed Byzantine hard body

outlines and drapery

Duccio Betrayal of Jesus 1309-1311

-showing emotion to a centralized

event, bodies have shape-

humanization of subjects


2/23

Giotto Lamentation 1305 ArenaChapel, Padua

- Dew devices for creating, light,depth and perspective

Martini.Annunciation. 1333-

International style , symbolism, gothic

frame

Lorenzetti Birth of the Virgin. 1342

Palazzo Pubblico Siena, Italy

Lorenzetti. Peaceful Country

Peaceful City

15th Century Northern

Claus SluterWell of Moses. 1400


3/23

Broderlam Retable de Champmol1339

Limbourg Brothers. Les thres richesHeurs du Duc de berry (The VerySumptuous Hours of Duke Berry)

1413-1416- France, illuminatedmanusctript

Campin Merode Altarpiece- advocating personal devotion,

Flemish houshold, donor portraits

Jan Van Eyck Ghent alterpiece 1432

-Used pristine specificity and

naturalism

Jan Van Eyck Man in a Red Turban

1433

- first private commissioned portrait

looking directly at the viewer

Jan Van EyckArdolfini and his Bride

1434

-emerging capitalism led to a

bourgeois market for art, use


4/23

naturalism and symbolism, oil paint

Van Der Wyden Deposition 1435

compressed the figures into action on

a shallow stage- action and emotion,

naturalism

van der Weyden Portrait of a Lady

1460.

emphasis on minute detailscapturing a womans dignity and

elegance

BoutsLast Supper 1464-1468

Andrea del Castagno Last Supper

1447

Schongauer. Siant Anthonytounrmented by Deamons . 1480-90- engraving, shows tone and texture


5/23

15th Century in Italy - Development

of Perspective in Painting & The High

Renaissance: Leonardo, Raphael &

Michelangelo & Venetian Art

Emphasis on humanism- education

and of expanding knowledge

(especially of classical antiquity)

exploration of the individual potential

and desire to excel, and commitment

to civic responsibility and moral duty

Brunelleschi Sacrafice of Issah 1401

GhibertiSacrafice of Issah 1401 **

Florence Baptistery Door winner

Brunelleschis Dome. Florence

Cathedral1420-1436

di Banco . Four Crowned Saints. Or

San Michele, Florence, Italy. 1410-

1416

- Figures awaiting their death-

humanism, organized to face eachother, use drapery, sought to portray

personality

Donatello Saint Mark , Or San Michele

Florence 1411-1413- contrapasto,

suggests movement, drapery to show

body


6/23

DonatelloSaint George 1410-1415-gothic tradition of depicting a warriorsaints on church facades- here he hasa civic role to play

DonatelloFeast of Herod1423-1427

- Realization of perspective space-

single point perspective

Donatello. Gattameleta. 1445

Andrea del Verrocchio.Bartolommeo Colleoni. 1481-1496

Ghiberti. Gates of Paradise. . 1425-

1452.

Ghiberti. Isaac and his Sons.


7/23

Donatello . David. 1440-1460.

first Renaissance sculpture toportray a nude male, symbol of theindependent Florentine Republic-Reflects Humanism

* Contrapasso

Andrea del Verrocchio. David.

1465-1470

FabrianoAdoration of Magi. 1423-

leading Florentine master of

international gothic style***

Masaccio Tribute money. 1424-1427

modeled figures with light comingfrom a specific source- lightilluminates the figures from the

right casting a shadow*

*linear perspective- the ground line

and the vanishing point

Chiaroscuro

Masaccio Expulsion of Adam and Eve


8/23

from Eden. 1424-1427-acute attention

to detail--- sight of individuality and

expression****

Masaccio Holy Trinity. Florence, Italy.

1424-1427

near single point perspective meetat the vanishing point, conceive arational, calculable proportions

Fra Angelico.Annunciation. 1438-

1447

Domenico Ghirlandaio. Giovanna

Tornabouni's portrait. 1488.

BottecelliPrimavera 1500

Bottecelli Birth of Venus. 1500

Created a style of visual poetrypuddaco attempt to cover but still

exposed


9/23

Bartolommeo Faade of Palazzo

Medici1444- repeated arches, lowerlevel gives a masonry style in

comparison to upper levels

Alberti & Rossellino, Plazzo

Ruccellai. Florence 1452-1470

Perugino. Christ Delivering the Keys

of the Kingdom to Saint1481-1483

Della Francesco. Enthroned

Madonna and Saints Adored (Brera

Altarpiece). 1472-1474.

Piero Della Francesca. Flagellation

of Christ. 1455-1465

Della Freancesca Hercules. 1470


10/23

Andrea Mantenga, Camera Picta,

1465-1474- pagan ideas, illusionistic

painting popular of baroque, group

portrait, sculptural forms

Andrea Mantenga. Dead Christ.

1500,-using the body to create perspective,

evokes emotion

Europe 16th Century- High Late

Renaissance

**development of perspective and

humanism

-15th century developments ofanatomy, architecture and classical

cultures was nurtured though the 16th

century

-Raising visual art to a status held by

poetry

-unified representation of objects in an

atmospheric setting***

Da VinciMadonna of the Rocks

1483-- Pyramidal composition, Water-

shows a reflective space, Jagged

landscape- draws eyes backwards-

chiaroscuro, smufato

Da Vinci .Madonna and Child with

Saint Anne and Infant Saint John. 1500

Da Vinci . Mona Lisa. 1503-1505-

Represented with out any

representation of wealth

Informality , landscape, eye contact


11/23

Da Vinci .Last Supper. 1495-1498

Da Vinci. The Fetus and Lining of the

Uterus. 1511-1513

Raphael. Madonna of the Meadow .

1505-6

Raphael. Marriage of the Virgin

(1504)-Master of foreshortening

Raphael. Philosophy (School ofAthens) (1509) society

Merging of Humanism andChristianity, Theology, Law,Poetry, philosophy,Western

learning as Renaissance society

Raphael. Galatea (1513)


12/23

Raphael. Baldasssare Castiglione(1514)High renaissance portraiture ,Looksdirectly at the viewer, benign

expression, clear eyed and thoughtful, pose made famous by Mona Lisa,High renaissance artists paid to the

subjects personality and psychic state

Michelangelo *Terribilita,

*LEADS to the foundation toMANNERISM bringing attention to thehuman formMichelangeloPieta (1498-1500)

MichelangeloDavid(1504)

MichelangeloTomb of Pope Julius(1513-16)

MosesMichelangeloSistine Chapel ceiling

MichelangeloCreation of Adam

communication between god andhumans Depicts god as the ruler of

the universe in a pagan sense, **Use of shadows and twisting the

figure to enhance the body

MichelangeloLast Judgment-counter reformation, terrifying visionof sinners


13/23

MichelangeloThe Libyan Sibyl

16th Century Architecture

Bramante consistent withhumanistic values

Treating buildings as a sculpture

Bramante. Tempietto. 1500

Bramante, Plan for St. Peters 1500

Michelangelo, St. Peters 1550

created a unified cohesive

design

Palladio, Villa Rotunda 1550Has Four identical facades each oneresembling a temple with a columnarporch, in the center is a great domerotunda modeled on the pantheon--Embodies self sufficiency inrenaissance thought

Palladio, San Giorgio Maggiore 1550numerology in proportion -intersection

of two temple faades is irrational andambiguous- consistent with Manneristarchitecture

Rational organization of theinterior

Classical faade


14/23

16

th

Century Venetian Painting- * Sensuous soft light, birth of thereclining nudeGiorgine, Pastoral Symphony1500

Titian,Meeting of Bacchus 1500

Bellini & Titian, Feast of the Gods(1550)Arcadian- idyllic rustic place ofsimplicity, Idyllic atmosphere- for thenever ending pleasure of the immortalgods -Poesia- painting to evoke amood in a manner similar to poetry

Titian, Assumption of the Virgin 1500

Titian, Madonna of the Pesaro Family

1500

Titian, Venus of Urbino (1550)


15/23

Set the standard for the recliningfemale nude

Mannerism: Perfecting the Bodytoward Mannerism- Emerged in1520s as a reaction to theRenaissancePontorrmo,Entombment of Christ(1550)

-Exploited what 16th century viewerswould expect, curious anxious glances,contorted elongated bodies, heads

small and oval, Contrasting colors

Parmigianino, Madonna with theLong Neck1550-Figures are cryptic and ambiguous-play on antiquity

Bronzino, Portrait of a Young Man1550depiction of a young intellectual with acalculated nonchalance

Anguissola. Portrait of the Artists

Sisters and Brother. 1550.

Bologna,Abduction 1600

Elements of Mannerism in Venice

Tinteretto, Last Supper1600
http://www.terminartors.com/files/artworks/1/3/9/13965/Tintoretto_Jacopo-The_Last_Supper.jpg


16/23

Veronese, Last Supper1600

glorfied in Monumental dramaand deep perspectives

16th Century- Northern EuropeHieronymous Bosh Garden of

Earlthy Delight1500

Grunewald Isenheim Altarpiece 1500-themes of pain illness and death

Duer. Great Piece of Turf. 1500

Duer. Fall of Man. 1500

Duer. Knight, Death and the Devil.1500

Hans Holbein the Younger. TheFrench Ambassadors 1550

Brugel Hunters in the Snow


17/23

Hemmessen. Self Portrait. 1550

El Greco Burial of Count Orgaz1600blend of Byzantine and ItalianMannerist elements- distinguishedheaven and earth

Mannerist ArchitectureRomano, Pallazo de T 1550

Mix of classical idea and rusticblocks

Parody of Bramante

Maderno Santa Susanna 1600earliest baroque vertical thrust

BerniniPIazzaSaint Peters 1700

Spiritual feeling to design as a

compliment to Saint peters

Related by size and spiritual

qualitys

BerniniRoyal staircase 1700

gives illusion of uniform width

reinforces natural perspective

dynamic and dramatic design

Bernini. Baladacchino 1650create a visual frame, breaks fromantiquity


18/23

BerniniDavid1600 - Express Italian

baroque spirit, expansive and

theatrical

Bernini Ecstasy of Saint Teresa

1650- passionate drama- displaysmotion and emotion

BorrominiSan Carlo 1650-

emphasize a building sculptural

qualities, concave and convex

17th century European art-

Baroque

ItalianCaravaggio Conversion of Saint Paul.1600

Tennebrism, injected naturalism

Caravaggio Entombemnt1600


19/23

Caravaggio Calling of Saint Matthew1600

SpanishRibera. Martyrdom of Saint Phillip1650

Zurbaran. Saint Seraprion 1650

VelazquezSurrender of Brenda. 1650

Las Meninas. 1650

creates a dialogue with the viewer,

relaxes the severity of the courtportrait, Tennebrism , Velazincludes himslef

FlemishRubensElevation of the Cross 1600


20/23

useof color to guide us throughthe image, Blue replaces red

RubensArrival of Maria de Medici1600

Van DyckCharles I Dismounted1650

pictured in causal relaxedmoment

Peters Still life with Flowers 1600

Dutch

* Dutch Baroque centered on

genre scenes- landscape,portraiture, and still lifes

van Honthorst. Supper Party. 1650

Frand Hals. Archers of Saint Hadrian1650- first successful group portrait- allequal


21/23

Leyster Self Portirat1650- naturualist, empahised her skill

Rembrandt van Rijn. 1650Anatomy Lesson of Dr. Tulp

-first accurate anatomical painting in

print, innovative group portrait

RembrandtSelf Portrait. 1650

Rembrandt (Night Watch) TheCompany of Captain Frans Banning

Cocq 1650

Rembrandt Christ with the Sickaround him, Receiving Children 1650etching- layers, tones and tennebrism

Blinding of Samson 1650

Vermeer The Letter1650

VermeerAllegory of the Art ofPainting 1650

** includes dutch ship


22/23

Calaez. Vanitas Still Life. 1650

Ruisdael View of haarlem 1650

French BaroquePoussin Et Arcadia Ego 1650

Jaques Callot. Hanging Tree 1650

political response to the monarchy

Rigaud. Louis XIV1700


23/23

French architecture

Versailles , Hall of Mirrors

rusticated ground floor- similarto Palazzo de Medici

line the interior walls with

venetian glass mirrors

French beggining to dictate

interior designLouve

classical elements of columns

image identifications mid term

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