Art History 1 Flashcards
Christ and Doubting Thomas
Andrea del Verrocchio
1467-83
bronze
Orsanmichele
Christ and Doubting Thomas
Made for Merchants Tribunal
Only niche with two statues, Thomas steps out (he is of the earth, Christ is of heaven)
Gilding and classical curls on Thomas
Demonstrates interest in anatomy, texture, use of hands for emphasis and drama
Bust of a Woman with Flowers
Verrocchio, late 1470s, marble
Same classic curls as Thomas, contrast between that texture and the smoothness of her face
Beautiful hands (different from earlier busts) drape her heart and stomach (feminie gestures)
draping and texture in garment
David
Verrocchio, bronze, 1473-75
gilded hair (same as Thomas)
Pre-teen boy build
agressive, cocky, beautiful
Baptism of Christ
Verrocchio and Leonardo Da Vinci
1472-75, oil on panel
Leonardo painted angel and background behind angels
Baptism of Christ (angels)
Leonardo painted angel looking toward Christ
Painted body to reflect the soul and mind
response to religious event (awe, reverence, love, faith)
Baptism of Christ
Background above angels (Leonardo)
Opticslly realistic
atmosphereic perspective
Martyrdom of St. Sebastian
Antonio del Pollaiuolo, mid-1470s, panel
study of anatomy and musculature
Annunciation
Leonardo, oil on panel, 1470s
Mary sits in corner (she is the foundation of the church)
Mary calm and dignified
reading Bible (symbolizes knowledge of future death), draped in cloth (alludes to the Mass)
meticulous drapery, same tiled floor as the museum the painting now resides in :)
misty harbor background (mysterious, the real world/earth is hazy and plain vs the clear and beautiful divine world)
Study of drapery
1470s
Similar to the drapery in Annunciation
Used to dip cloth in plaster and let dry to study drapery patterns and looks
Portrait of Ginevra de’Benci
Leonardo, mid 1470s, oil on panel, Wachington National Gallery
Still intersted in texture as well as how light and shadows touch the face
lines on the face blend into the shadows, become one
Her name means juniper, jumiper bushes behind her
Portrait of Ginevra de’Benci
Portrait was cut later, botom half would most likely have revealed Ginevra’s hands (similar pose to his Master Verrocchio’s bust)
back of the panel painted to look like porphyry (valuable stone= royalty, Roman allusion)
Juniper sprig + laurel= royalty, classical
Enscription praises her beauty
Beautiful forever: immportalised in her portrait
Adoration of the Magi
Leonardo, begun 1481, unfinished underdrwing on panel
Madonna and child in very center, create pyramid with figures beside, She is largest (hierarchal scale)
background figures create arch of emotion around her serenity
scene framed by old and young man (youth and wisdom represented (just like Jesus!))
Madonna heavy-lidded and thoughtful (similiar to Verrocchio)
Adoration of the Magi
Botticelli, panel, early 1480s
Similar figure positioning as Leonardo
Pyramid with Madonna and Child at the head
Study for Adoration
Leonardo, 1481, pen and ink
Tons of architecture that Leonardo latter omitted
vanishing point would have been behind Mary
Madonna of the Rocks
Leonardo, early 1480s, oil on panel, alterpiece for Franciscan church (Milan)
figures make pyramid; Jesus blessing John the baptist, but he is lower; Mary’s, angel’s, and Jesus’s hands in a linear formation; This arrangement of the figures is mysterious and up for debate
No vanishing point, background accurate to nature, but it is an imaginary place; sfumato- smoke-like -> lines in figures blend in and disappear into shadows, shading
chiaroscuro- light and dark
Mary’s expression is contemplative, prophetic; ponders and keeps her thoughts in her heart
Study for Angel (Madonna of the Rocks)
Leonardo, early 1480s, for S. Francesco Grande, Milan
silverpoint on paper
beautiful lines, less texture to hair
eyes knowing, divine: no way a human can decipher what an angel is thinking
Horseman Trampling Enemy (study for Duke Sforza)
Leonardo, drawing, 1485
largest bronze ever attmpted, bronze eventually striped for cannons, destroyed by French soldiers
enemy underneath horse is a new innovation by Leonardo
Portrait of Cecilia Gallerani
Leonardo, 1490, oil on panel
Duke Sforza’s mistress, holds white ermine (weasel)
demonstrates her name (Galleroni=weasel) and her lover’s status
Beautiful hands embrace ermine, turned to the side as if looking toward the Duke makes her smile
richly dressed, but not overly blinged-out, classy
The Last Supper
Leonardo, 1495-98, fresco painting mixed with oil, Refectory in Santa Maria delle Grazie (Dominican), Milan
figures demonstrate the drama, emotion after hearing that one of them will betray Jesus
Jesus is vanishing point, his position makes a small triangle, open hand towards bread (the body)
Last Supper
Sforza’s coat of arms, mulberries (Sforza’s nickname Il Moro)
Door cut into later (noooooooo!)
Oil and fresco doesn’t stick well to the wall= fresco deteriorating, repaitned/restored often
Last Supper (John, Peter, Judas)
They sit on Jesus’s right
Judas’s face doesn’t betray his evil, he reaches for the bread at the same time (in the Bible this gesture reveals him to be the traitor)
Leonardo chose to portray the reality of the scene: the disciples do not know he is the traitor yet! He still sits with them.
Last Supper
Ghirlandaio, 1480, fresco, Church of Ognissanti
Architectual obstacle makes fresco seem crowded (Leonardo solved by moving scene down)
Judas on other side of table, John asleep, Jesus is not in the middle!
Apostle Matthew (Last Supper)
Leonardo, red chalk, pen and ink, 1495
Livid expression, cannot beleive a disciple will betray Jesus
Classical curly hair like Thomas and David
Madonna and Child with Saints Anne and John the Baptist
Leonardo, 1505-7, chalk on paper (cartone (cartoon))
Figures intimately grouped together (John is kinda awkwardly on the outside)
Anne points to Heaven
Leonardo believed that divinity IS beauty (Anne’s face is very beautiful even though she is older)
Madonna and Child with St. Anne
Leonardo, oil, 1508-13
Jesus plays with a lamb (sacrificial lamb)
Cedar tree in background (God planted to bear fruit for followers)
John omitted
Drapping on Mary very simple
Still interested in anatomy (legs)
Scene is still intimate: Grandmother, Mother, and Child playing together
Mona Lisa, Leonardo, oil, 1503
Wealthy business wife (La Gioconda)
3/4 view, beautiful hands, landscape behind, sides were cut (can still see bases of columns that framed her), level in background uneven
intense gaze, but crossed arms almost close her to us
sfumato-shadows/shading have replaced lines
can’t tell her age-she is ageless, eternal
pose is strong, pyramid like
never got her portrait
Copy of Leonardo’s fresco Battle of Anghiari, Peter Paul Rubens, 1615
original fresco started in 1503, Sala del Cinquecento (Room of the 1500s), Palazzo dei Priori (Palace of the Priors), Florence
War won against Milan, commission Leonardo vs Michelangelo
chaos, horse and human studies, “The Beastly Madness of War”, faces distorted in emotion
experimental fresco fails, so Leonardo leaves without finishing
Storm Breaking Over a Valley, drawing, Leonardo, 1500, chalk on white paper
destructive power of water
Star of Bethlehem, Leonardo, 1505-08, pen and red pencil
very detailed
Vitruvian Man, Leonardo, 1490, pen and ink
Treatsie of Vitruvious
circle and square-perfection
man imitating perfection
Studies of Legs with Bones and Tendons, Leonardo, 1508, pen and ink
can see his famous backwards writing (he was left handed)
detailed drawings/studies
Perspectives Views of Domed Churches, Leonardo, 1490, pen and ink
circular designs homage to perfect shape, square is the 2nd most perfect shape
together they make beautiful and functional churches
none of his designs came to be
Battle Sudies, Leonardo, 1503, pen and ink
more studies of horses and bodys
Study of Drapery for Seated Figure, Leonardo, 1470s, brush and tempera
drapery makes volume
Studies of Water Movemnets, Leonardo, 1505, pen and ink
like braided hair
Deluge, Leonardo, 1514-19, black chalk
destructive power of water
Madonna of the Stairs, Michelangelo, 1489-92, marble relief
17 when he carved it, squashed relief- gets smaller as it goes up (similar to Donatello)
madonna is solid, looks away from nursing baby
he is muscular, adult, very tense, arm twisted severely
little angels above
Battle of Centaurs and Lapiths, Michelangelo, 1492, marble
tiny, chaotic, realistic
not much sign of a centuar- M. is more interested in the human body
Bacchus, Michelangelo, 1496-97, marble
commissioned for Cardinal Riario, he didn’t like it so then it was sold to Jacopo Galli
overall look is intoxication
very polished- classical influence
could be perceived as a warning to drunkenness
Pieta, Michelangelo, 1498/99-1500, marble, St. Peter’s Vatican, Rome
Mary presenting body, she is larger-massive drapery, Jesus on a diagonal
his body is perfect, healing- death is not permanent for the son of God, left leg slightly raised ad if he might get up
Mary’s hand in offering-the sacrifice is complete
vs Leonardo’s Mary-face is downcast, heavy lidded, inscutible expression, ageless
David, Michelangelo, 1501-04, marble, 14ft high, Palazzo Vecchio
commissioned for Duomo, then in front of Vecchio, then inside
carves in secret, took 3yrs, M. compares himself to David, perfect body
censored his junk when put in front of Vecchio, inside it is under an archway and makes everyone feel intimitated
David, Michelangelo, marble, 1501-04
Intense gaze: gathering his courage, tense before he fights, sizing up his enemy
Prontezza- Florentine power: righteous anger, strength, readiness!
Still fear in his eyes…
Doni Tondo, Michelangelo, 1503, panel, tempera and oil
Celebrate Doni marriage (fertility in marriage)
ideal marriage-Mary and Joseph
very polished like his statues, poses similar to Leonardo (closeness), unknown nudes in background
John the Baptist looks up to the group
Mary is muscular, bare arms-strength of the church, sits on the ground-humility
original frame- heads of saints around
Pitti Tondo, Michelangelo, 1505, marble relief
Mary’s hand, book, and J’s elbow on the book- Christ’s flesh/body is the word of God
Bruges Madonna, Michelangelo, 1503-04, marble
same downcast gaze as pieta and Leonardo’s madonnas
Battle of Cascina, Michelangelo, 1504-06, engraving of the fresco (destroyed), Palace of the Priors, Florence
chosen moment: false alarm and hurried clothes changing
experiments in anatomy, complex spirals and twists
prontezza- readiness
Tomb of Julius II, Michelangelo, 1505, drawing
For Old St. Peter’s in Rome
too ambitious, not completed
Sistine Chapel Ceiling, Michelangelo, 1508-12, fresco, Vatican, Rome
originally blue, starry sky
typology- relating Old Testament to New Testament
Old on ceiling
expressing emotion throught body, drapery, and hands
ignudi- nudes around scenes
Julius II’s sign around the whole ceiling (acorns)
Study for Sistine Chapel Ceiling, Michelangelo, 1508, ink and black chalk
geometric study
architectural spandrals that made it to the ceiling are painted on
Drunkenness of Noah, Michelangelo, Sistine Chapel, fresco
older man, yet very muscular
pretense to Jesus
Deluge, Michelangelo, Sistine Chapel, fresco
People finding shelter, trying to row to the ark
Prophet Zachariah, Michelangelo, Sistine Chapel, fresco
huge drapery like pieta Mary
Temptation and Expulsion, Michelangelo, Sistine Chapel, fresco
Eve very sensual, muscular arms (like Mary-she is the new Eve)
Adam a part of the sin- grasps the tree, also very close to Eve..
Pained expressions in expulsion, Angel’s sword on Adam’s neck
Cumaean Sibyl, Michelangelo, Sistine Chapel, fresco
super muscular, head too small
Creation of Eve, Michelangelo, Sistine Chapel, fresco
God raises his hand and creates Eve from Adam
Adam asleep grasping tree stub- proleptic to future sin
Creation of Adam, Michelangelo, Sistine Chapel, fresco
Adam is perfect- image of God
his hand is limp, lifeless vs God’s active, strong, life-giving hand
God surrounded by angels and possibly the figure behind him is the “idea” of Eve
God from Creation of Adam, Michelangelo, Sistine Chapel, fresco
hair wispy and powerful
can see black dots from fresco technique (chracoal through dotted outline drawing)
Creation of Sun, Moon, and Plants, Michelangelo, Sistine Chapel, fresco
God is a forboding figure
emphasized rear-end
drapery makes him larger like pieta mary
Separation of Light from Darkness, Michelangelo, Sistine Chapel, fresco
spiral of the body
Libyan Sibyl, Michelangelo, Sistine Chapel, fresco
dramatic twist of the body all the weight on big toe, she is light even thouhh she holds a heavy book
Study for Libyan Sibyl, Michelangelo, Sistine Chapel, fresco
exaggerated shoulder, tension, muscle
especially in big toe
David Beheading Goliath, Michelangelo, Sistine Chapel, fresco
reversed hierarchal scale
Sonnet, Michelangelo, 1510, pen and ink
complains about painting the ceiling
figure in drawing represents his pose for painting
very painful
Updated drawing of Julius II’s tomb, Michelangelo, 1513
added more statues, arched figure above tomb
Moses for Julius II’s Tomb, Michelangelo, 1511-16, marble, San Pietro in Vincoli
Similar pose as Libyan Sibyl, holding comandments, gaze far off like David, might get up like Pieta Jesus
terribilita- formidable power/personality
horns on his head- Hebrew word for Moses mistranslated to mean horns
really means rays of light
Captive for Julius II’s tomb, Michelangelo, 1503-16, marble, Louvre
“Dying Slave” his only langerous statue
band around chest
didn’t end up on the tomb
Captive for Julius II’s Tomb, Michelangelo, marble 1513-16, Louvre
“Rebellious Slave”
arms twisted in tension, make a spiral with his body
doesn’t make it on tomb
Model for San Lorenzo facade, Michelangelo, 1517, wood
Classical elements- columns, plastersm pediments, circles
modeled after interior of the Pantheon and possible the triple arches of Constantine
Never got its facade (money problems and the benefactor died)
Medici Chapel, Michelangelo, 1520-34, San Lorenzo New Sacristy (Mausoleum)
Eye goes to the window- all of the weight is in the bottom, the journey to heaven is upward and difficult
death below, life up
walls dense, like Mary’s drapery
coffered dome with occulus like Pantheon
Tomb of Giuliano de’Medici, Michelangelo, marble, 1520-34, Medici Chapel, San Lorenzo, Florence
does not resemble Giuliano
pose like Moses, elongated neck, beautiful body and face
psuedo-empirical armour
Looks off to Madonna and Child
Night and Day statues
Night (for tomb of Giuliano de’Medici), Michelangelo, 1520-34, marble, Medici Chapel, San Lorenzo, Florence
Older women, droopy boobs
asleep, yet her body is tense like she is fitfull
Day (for tomb of Giuliano de’Medici), Michelangelo, 1520-34, marble, Medici Chapel, San Lorenzo
awake, getting up, more turned away from us
sees something in the distance
unfinished
Tomb of Lorenzo de’Medici, Michelangelo, 1520-34, marble, Medici Chapel, San Lorenzo
“The Thinker”
Looks to Madonna and Child
pseudo-empirical armour
more alert than Giuliano
dusk and dawn statues
Dawn (for Lorenzo’s tomb), Michelangelo, 1520-34, marble, Medici Chapel, San Lorenzo
young and beautiful
face distorted in sadness
troubled awakening
Dusk (for Lorenzo’s tomb), Michelangelo, 1520-34, marble, Medici Chapel, San Lorenzo
brooding
relaxed pose
Laurentian Library, Michelangelo, 1524-36, San Lorenzo, Florence
weighty stairs
3-flight- middle for the ruler, flanking for the entourage
middle stair curved, comes at you like waves, formidable
Plan for reading room in Library, Michelangelo, pen and ink, 1525-26
rare triangular book room
never made
Victory, Michelangelo, 1527-28, marble, for Pope Julius II’s tomb, Palazzo Vecchio, Florence
“Crossed-leg captive”
Blockhead captive, Michelangelo, 1527-28, marble
for Pope Julius II’s tomb
unfinished (hence the Blockhead)
Christ Giving Keys to St. Peter, Perugino, 1481, Sistine Chapel, Fresco
Tried to make center building the vanishing pt, but not sucessfully
all figures the same size, no diversity, Main figures in center
very 2-D looking, flat
Marriage of the Virgin, Raphael, 1504, oil panel
improved master’s technique by making vanishing pt the window of light in the building and making the lines in the brickwork thicker
main figures still in center, but the group is not static and 2-D like Perugino’s (make an arch)
interesting foot movement
unity in the fore and background
St. George and the Dragon, Raphael, 1505-06, oil panel, commissioned for English Embassador from Duke of Urbino
horse influenced by Leonardo, but ot as successful
figures make an X, lead to the dark cave
princess in background
George almost bigger than the horse (Marcus Aurelius statue)
symetry
St. George and the Dragon, Donatello, relief, Orsanmichele, 1415-17
Influenced Raphael: poses, goerge larger than horse
differences: princess, dragon is more active
Madonna of the Meadow, Raphael, 1505-06, oil panel
centrality- main figures in the cener of the panel
background clear, not hazy like Leonardo- real
Madonns’s pose influenced by Leonardo sketch, she holds back Jesus even though he has accepted his fate (touches cross)
pyramid shape made with figures
Cowper Madona, Raphael, 1505, oil panel
Raphael tried to copy Mona Lisa’s hand
Madonna cups baby like a real mother would, baby grabs at her like a real baby would
background clarity
madonna’s hand acts as foundation for baby’s foot
Portrait of Angelo Doni, Raphael, 1506, oil panel
wedding portrait
imposing, stern, wealthy (rings and jewelry)
more of the body seen, 3/4 pose
background landscape minimal- Angelo the focus
Portrait of Maddalena Strozzi, Raphael, 1506, oil panel
Wedding portrait
Mona Lisa pose, but more embellishment (show wealth)
little to no sfumato (shadow)
depicted her as older than she is (14 approx.)
minimal background foiliage
Pope Julius II, Raphael, 1512, oil panel
Belvedere Torso, Ancient Rome
Laocoon, Hellinistic period, Ancient Greece
Belvedere Apollo, Vatican Collection 1511
Roman copy of Greek bronze
Disputa, Raphael, 1509-11, fresco, Vatican Library
Meditation on the Sacrament/ Theology
Linear/vertical progression of alter, host, holy spirit, Jesus, and God
holy spirit surrounded by gospels
On Earth- Bromante (architect) looking back to the building of New St. Peters
Dante with laurel leaves behind Pope (Pope Julius’s uncle)
School of Athens, Raphael, 1509-11, fresco, Stanza della Segnatura, Vatican
philosphers and scholars from antiquity (to inspire Pope with decisons), Apollo and Athena on the sides
Plato and Aristotle in center, vanishing pt behind heads
Diogenes lounging on steps, Michelangelo added at last minute (seated writing), Raphael looking back to viewers on right side, lots of arches-classical
Fighting Men, Raphael, 1511, study for School of Athens
Influence of Michelangelo
Expulsion of Heliodorus from the Temple, Raphael, 1512-14, fresco, Stanza d’Eliodoro, Vatican
audience chamber
Heliodorus crushed by avenging spirti for taking treasure
praying for justice at alter
horse much more successful than George’s
Pope Julius seated high, robed as Pope (left)
Liberation of St. Peter from Prison, Raphael, 1512-14, fresco, Stanza d’Eliodoro
light and dark, peter in chains, freed by angel
fantastic aura around angel
sleeping guards
Mass of Bolsena, Raphael, 1512-14, fresco, Stanza d’Eliodoro
doubt and faith
swiss guards
pope julius II seated
Atilla the Hun vs Pope Leo I, Raphael, fresco 1512-14, stanza d’eliodoro
Paul and Peter floating above
Sistine Madonna, Raphael, oil canvas, 1512-14, Sistine Chapel, Vatican
Madonna and child flanked by St. Barbara and St. Sixtus
Worried expression- future crucifixion
cherubs on bottom- reflect real poses by real children
