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Flashcards in 14thc. in Europe Questions Deck (24)
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1
Q

Describe Madonna and Child and Tabernacle

A
  1. Bernardo Daddi. Tempera and gold on wood panel.
    1355-59. Andrea Orcagna. Orsanmichele, Florence. MArble, mosaic, gold, lapis lazuli.
    -second replacement.
    orsanmichele = grain market and warehouse
2
Q

Describe The Triumph of Death

A

1330s. Mater of the Triumph of Death (Buffalmacco?). Fresco. Pisa.
- horror and terror of impending death
- center, dead people lie in heaps while devils and angels carry their souls.
- right, wealthy people listen to music, unaware of death.
- left, group on horseback observe themselves in coffins.
- beggars who beg death to free them from earthly miseries

3
Q

Describe Piazza della Signoria with Palazzo della Signoria (Town Hall) and Loggia del Lanzi

A

1299-1310. and 1376-82. (Florence)

  • town hall faces large square.
  • loggia provided cover space for ceremonies and speeches.
  • master builders: Berici di Cione and Simone Talenti.
4
Q

Describe Florence Cathedral (Duomo)

A

1296-1378. Arnolfo di Cambio, Francesco Talenti, Andrea Orcagna

  • sculptors and painters designed instead of architects, so lead to problems.
  • long, square-bayed nave ends in octagonal domed crossing.
5
Q

Describe Life of John the Baptist (bapistry doors)

A

1330-36. Andrea Pisano. Florence. Gilded bronze

  • 20 scenes from life of John set above 8 personifications of the Virtues
  • reliefs framed by quatrefoils.
  • reliefs in style inspired by Giotto
6
Q

Describe Virgin and Child Enthroned (Church of Santa Trinita)

A
  1. Cimabue. Tempera and gold on wood panel.
    - uses traditional Byzantine iconography
    - surrounded by saints, angels, and OT prophets
    - employed Byzantine formulas in proportions of figures, placement of schematic features, and tilt of haloed heads.
    - highlighted drapery with thin lines of gold to indicate divinity.
    - concern for spacial volumes, solid forms delicately modeled in light and shade, warmly naturalistic human figures
7
Q

Describe Virgin and Child Enthroned (Church of the Ognissanti)

A

1305-10. Giotto di Bondone. Tempera and gold on wood panel.

  • exhibits groundbreaking spatial consistency and sculptural solidity
  • central and overtly symmetrical composition and position of figures reflect Cimabue’s influence.
  • Mary’s face is individualized and natural action.
8
Q

Describe Scrovegni (Arena) Chapel

A
  1. Giotto di Bondone. Northern Italy.
    - dedicated to Virgin of Charity and of the Annunciation.
    - built on ruins of ancient Roman arena
    - simple, barrel-vaulted room.
    - stories of Mary and Jesus on rectangular panels.
    - base of faux marble and allegorical grisaille support vertical bands
9
Q

Describe Marriage at Cana, Raising of Lazarus, Resurrection, etc.

A
  1. Giotto di Bondone. Arena Chapel.
    - raising of Lazarus references Jesus’s resurrection.
    - wedding at Cana = wine as blood of Christ at Eucharist.
    - Lamentation leads to the Resurrection as indicated by angels at the empty tomb.
    - Noli Me Tangere (Do not touch me)
    - juxtaposition of alive and dead trees tell death and resurrection.
    - reminiscent of tableaux vivants (living pictures) where people dressed in costume and re-created poses from familiar works of art.
10
Q

Describe Lamentation

A

GIOTTO DI BONDONE. Arena Chapel.

  • focused composition off center for maximum emotional effect
  • bare tree on ridge = medieval symbol of death.
  • mourning angels mirror his followers’ anguish.
  • John the evangelist flings his arm back in despair.
  • conveys real human sorrow.
  • Franciscan values of direct, emotional appeal and deliberate plainness.
11
Q

Describe Virgin and Child in Majesty (Maesta)

A

1308-11. Duccio di Buoninsegna. Tempera and gold on wood panel.

  • for the high altar of Siena Cathedral
  • Mary and Christ, adored by angels and four patron saints of Siena kneeling in front.
  • Virgin and Child represents Church and the Siena Cathedral.
  • predella painted with events in childhood of Jesus.
  • back painted with scenes of his adult life and miracles.
  • topped with pinnacles
  • soft style with linear grace and easy relationship between figures and setting (French Gothic)
  • central, most holy figures retain solemnity and immobility with realistic touches.
  • adoring saints reflect more naturalistic, courtly Gothic style.
  • brilliant palette (pastels + primary hues), delicately patterned textiles that shimmer with gold, and ornate punchwork are characteristically Sienese.
12
Q

Describe Nativity with Prophets Isiah and Ezekiel

A

Duccio. Predella of Maesta.

  • Nativity represented in tradition of Byzantine icons.
  • Mary lies on a fat mattress within a cave hollowed out of a jagged, stylized mountain.
  • Jesus appears twice: lying in the manger and with midwife below.
  • light, intense colors, and calligraphic linear quality
  • shepherds and sheep add realistic touch
13
Q

Describe Fresco Series of the Sala Della Pace (chamber of peace), Palazzo Pubblico (city hall)

A

1338-40. Ambrogio Lorenzetti. Siena.

  • depict results of good and bad government.
  • on short wall, figure symbolizing the Commune of Siena, enthroned like an emperor holding an orb and scepter and surrounded by Virtues.
  • Justice, assisted by Wisdom and Concord, oversees the local magistrates.
  • Peace lounges on a bench against a pile of armor, having defeated War.
  • figure is based on a fragment of a Roman sarcophagus in Siena
14
Q

Allegory of Good Government in the City and in the Country

A

Lorenzetti. Salla della Pace. Fresco.

  • idealized but recognizable portrait of Siena.
  • strets are filled with productive citizens.
  • Porta Romana (Siena’s gateway to Rome) divides city from country.
  • over portal is Romulus and Remus statue.
  • woman hovering outside gate clad in transparent drapery with scroll in one hand a miniature gallows with a hanged man represents Security.
  • her scroll bids those entering the city to come in peace.
  • gallows is reminder of consequences of not doing so.
  • Ambrogio maintained an overall visual coherence and kept all parts of the flowing composition intelligible.
  • maintained natural relationship between figures and environment.
  • conveys vision of orderly society of peace.
15
Q

Describe Pages with Betrayal and Arrest of Christ and Anunciation

A

1325-28. Jean Pucelle. Paris. Grisaille and color on vellum.

  • from the Book of Hours of Jeanne D’evreux
  • Charles IV gave to Jeanne.
  • Queen Jeanne appears in the initial below the Annunciation.
  • inclusion of patron in prayer within scene conveyed idea that scenes were visions inspired by meditation rather than historical events.
  • Annunciation (joy) is paired with sorrow.
  • Annunciation - Mary is shown receiving archangel Gabriel in Gothic clothing.
  • frolicking children above appear to be playing tag or other game. in medieval times, symbolized mocking of Christ or betrayal of Judas because he tags his friends.
  • in Betrayal, Judas embraces Jesus. Bas de page shows knights riding goats and jousting at a barrel stuck on a pole, spoof of military that may comment on lack of valor of the soldiers assaulting Jesus.
16
Q

Describe Virgin and Child

A
  1. Silver gilt and enamel.
    - ex-treasure of Abbey Church of Saint-Denis.
    - inscription on base bears date and donor’s name, Queen Jeanne.
    - Virgin holds Jesus in her left arm, her weight on her left leg, creating graceful S-curve (characteristic of period)
    - Fluid drapery, suggesting consistency of heavy silk
    - originally wore crown, scepter topped with a large enameled and jeweled fleur-de-lis (symbol of French royalty)
    - scepter served as reliquary for Mary’s hair.
    - face anticipated Beautiful Mother imagery
    - realism in Jesus through babylike proportions and gestures
    - enameled base of Christ’s Passion
17
Q

Describe Attack on the Castle of Love

A

1330-50. Paris. Ivory box with iron mounts.

  • God of Love shoots flowers as missiles and joust with flowers.
  • tournament in front of Castle of Love.
  • women watch jousting knights. on left, knights use crossbows and catapult to hurl roses at the castle, while God of Love helps women by aiming his arrows at the attackers.
  • on right, tournament’s victor and his lady love meet in a playful joust of their own.
18
Q

Describe Life of the Virgin (back of the Chichester constable chasuble)

A

1330-50. Red velvet with silk and metallic thread and seed pearls.

  • on liturgical vestment
  • resembles burnished gold-leaf backgrounds of manuscript illuminations.
  • Annunciation, Adoration of the Magi, and Coronation of Virgin are set in cusped, crocketed ogee (s-shaped) arches amid twisting branches spouting oak leaves, seed-pearl acorns, and animal masks.
  • star and crescent moon in Coronation are heraldic emblems of Edward III.
19
Q

Describe Exeter Cathedral

A

14th c. England.

  • Decorated style. diamond-shaped piers covered with colonenettes.
  • VERY DECORATED.
  • Perpendicular style. rectilinear patterns and sharp angular shapes. simple stripped-down patterns.
20
Q

Describe Church of the Holy Cross

A
  1. Germany. Heinrich and Peter Parler
    - choir designed in the manner of a hall church of enlarged triple-aisle form with ring of deep chapels between buttresses of the choir.
    - unity of space was enhanced by complex net vault - veritable web of ribs created by eliminating transverse ribs and ridge ribs.
    - complexity led to unified interior space of Renaissance.
21
Q

Describe Saint Wenceslas Chapel, Cathedral of Saint Vitus

A

Peter Parler and workshop. Prague. 1356. Tabernacle. gilded iron.
-suggests richness and elaborateness of Peter’s work.

22
Q

Describe Saint Luke

A

Master Theodoric. 1360-64. Prague. Paint and gold on panel.

  • might be self-portrait since looking out at viewer.
  • style: heavy bodies, oversized heads and hands, dour and haunted faces, and soft, deeply modeled drapery (merged from French Gothic to become Beautiful style)
23
Q

Describe “Beautiful” Virgin and Child

A
  1. Limestone with paint and gilding.
    - sweet-faced Virgin and Child.
    - complex drapery.
    - v-shaped folds and clusters of vertical folds end in rippling edges surround infant to create feeling of a fleeting moment.
    - emotions are restrained.
24
Q

Describe Vesperbild

A
  1. Germany. Wood.
    - blood gushes from rosettes that are the wounds of Jesus.
    - Virgin’s face shows intensity of her ordeal, mingling horror, shock, pity, and grief.