Mannerism/Late Renaissance (1525-1680 CE) Flashcards
Entombment of Christ
Everyone is pushed to the front (no setting)
Upset and impact
Jesus not in the forefront
Vertical arrangement (uneasy, cross reference)
Christ taken off the cross, about to be in the tomb (purposely ambiguous)
Mary (looks like an old lady)
Self-portrait of artist
Entombment of Christ IDs
Jacopo da Pontormo
1525-1528 CE
Mannerist
Oil on wood
Allegory of Law and Grace
Shows Martin Luther’s teachings (follow Commandments, go to church, believe in God, go to Heaven)
Left side (what not to do, not following the ten commandments, Adam and Eve, getting stabbed in the booty)
Right side (once we recognize our sinfulness, we find salvation in understanding that the crucifixion was to atone for our sins, Jesus is bleeding onto us and saving us, angels telling of Jesus’s birth)
Variation of a painting
Reflects Protestant ideals
Venus of Urbino
Source of reference for future paintings of naked women
She’s not disturbed (sense of familiarity with viewer)
Half-heartedly covers herself up (brings more attention to her nakedness, like Venus)
Strong horizontals and diagonals (calls attention to her body)
Depth in floor (lines of convergence, draws eyes to space in back)
Happy to engage
Not sinful (she’s a goddess)
Status symbols (ladies in back, green velvet curtain)
Bride (wedding chest, potted myrtle, roses)
Contemplate beauty over humanity (human element is removed)
Frontispiece of the Codex Mendoza
Eagle on cactus (Tenochtitlan)
History of Aztec people and empire
Light blue crossed bands (represent the water of Lake Texcoco, the center of the universe)
Founders of Tenochtitlan surround the scene (with iconography)
After the Spanish conquered Mexica with weapons and disease
Documentation to be sent to Charles V
Hunters in the Snow
Steep angles guide eyes to village
Diagonals (draw eyes to mountains sea, roofline, and hill)
Investigation into the lives of peasants in Flanders
Domestic and religious architecture
Taxed, tired, and depressed (only one rabbit between them)
Dog invites you into the painting (either bird or human)
Hunters in the Snow IDs
Pieter Bruegel the Elder
1565 CE
Oil on wood
Mosque of Selim II
Dome-central (inspired by Hagia Sophia)
Every part of space is visible
Highest point of the city
Process (square with octagonal piers connected with arches and pendentives to support the dome, half-domes in the corners of the square)
Windows in the middle of the walls (makes them feel less solid)
Reliance on verticality
Minarets
Mosque of Selim II IDs
Sinan
1568-1575 CCE
Mannerist
Brick and stone
Allegory of Law and Grace IDs
Lucas Cranach the Elder
1530 CE
Mannerist
Woodcut
Venus of Urbino IDs
Titian
1538 CE
Mannerist
Oil on canvas
Codex Mendoza IDs
Viceroyalty of Spain
1541-1542 CE
Mannerist
Pigment on paper
Mannerism Style
Unnatural proportions (elongation)
Fragile/delicate features
Irrational spaces/compositions
Saturation
Embraces artificiality
Il Gesù
Originally colorless (so as not to distract from the service)
Symmetry (drama and energy)
Facade juts into viewer’s space
Light/dark and concave/convex
Draws eyes up to top of structure (ascension)
Floor (geometric patterns, leads to altar)
Founding Jesuit church
Triumph in the Name of Jesus
Volutes in scroll pattern
Ceiling fresco (combines architecture and painting to create the illusion that the heavens are opening up into this space of God, descending into the space)
Faithful rise, damned fall (abstract)
Il Gesú IDs
Giacomo da Vignola, Giacomo della Porta, and Giovanni Battista Gaulli
1568-1679 CE
Mannerist
Brick, marble, fresco, and stucco
