Image Identifications Mid Term
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Transcript of Image Identifications Mid Term
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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
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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
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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
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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
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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
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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.
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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
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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
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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
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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
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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)
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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
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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
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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)
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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 -
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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
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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
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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
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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
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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
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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
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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
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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