Art History 2

Question 1

Answer 1

Portrait of Julius II, Raphael, 1512

finished months before his death

acorns on chair (family)

green walls-hope-> crossed keys in wallpaper

red robes- sacrificial color- charity- Mary

white- purity

beard- wouldn’t shave until French were defeated

Question 2

Answer 2

Sistine Madonna, Raphael, 1513, Piacenza Convent

Madonnaand Child, Sixtus, St. Barbara

Sixtus looks like Julius II- beard, oak leaves of coat

Madonna floating, but coming towards us- great liason between earth and heaven, many emotions- fear, sorrow, resolution, focus, hope

baby- pose like Michelangelo Sistine fresco, grasping cloth like Pieta

angels based on real children

papel tiara at head of coffin/ledge-tradition after death

Question 3

Answer 3

Donna Velata (Veiled Woman), Raphael, 1513

more mysterious, slightly turned from us, softer lines- Mona Lisa

no background

more ideal, dream-like

pearl in hair to show “value”

Question 4

Answer 4

Baladassare Castiglione, Raphael, 1515

friend from Urbino, striking blue eyes, gentleman like, hat to cover baldness

riposo- inner calm, resting but not sleepy, grace

earthy colors VS Michelangelo’s acidy, bright color

Question 5

Answer 5

Pope Leo X with Cardinals Giulio de’Medici and Luigi de’Rossi, Raphael, 1517

heavy winter clothing, collected objects in portrait, right hand side- first cousin future pope clement 7, behind- cardinal rossi- holds chair, protective, died 2 years after making cardinal

hands could be descendent of Mona Lisa

Question 6

Answer 6

Galatea, Raphael, 1513, Villa Farnesina, Sala di Galatea, Rome, comissioned by Agostino Chigi (banker from Siena)

movement, spiral body, centrality

Question 7

Answer 7

Transfiguration, Raphael, 1516-20, panel

last painting worked on before he died

first sign of Jesus’s divinity, apostles blinded by light

darker colors and shadows

healing of epilectic boy- chaos, source of salvation only through Christ

above Raphael’s tomb after he died

Question 8

Answer 8

Sant’ Andrea, Leon Battista Alberti, designed 1470, Mantua

major precedent to Bramante

huge triumphant arches and other Roman elements

Question 9

Answer 9

Inside Sant’ Andrea, Alberti, 1470, Mantua

piers separate chapels, no cloumns so you can see down the nave

dome and occulus, coffered barrel vault

Question 10

Answer 10

Santa Maria presso San Satiro, Bramante, Milan, 1485

painted barrel vault, thinner piers, centrality in alter

Question 11

Answer 11

Alter of Santa Maria presso San Satiro, Bromante, Milan

alter creates vanishing pt on tabernacle where host is kept

optical illusion- painted to look like apse

pendentives (triangular space to support dome) above

Question 12

Answer 12

Renovated Santa Maria della Grazie, Bramante, begun 1492, Milan

brick, circle and rectangular shapes

renovations commissioned by Duke Sforza

Leonardo Last Supper fresco at same time

Question 13

Answer 13

Santa Maria della Grazie, Bramante, 1492, Milan

rectangles and circles

carved out sections like vertical barrel vaults

no tiny aspes like Leonardo’s designs

Question 14

Answer 14

Plan for Santa Maria della Grazie, Bramante, 1492, Milan

mosoleum replaces aspe and alter, chapel added on behind, centralized dome

nave gothic (not by Bramante)

Question 15

Answer 15

Dome ceiling, Santa Maria della Grazie, Bramante, 1492, Milan

similar to Hagia Sofia-little windows and occulus

Question 16

Answer 16

Tempietto, Bramante, 1511, Rome, commissioned by King Ferdinand and Queen Isabella of Spain

“believed” to be where Peter was martyred

originally wanted wide open space with columns around

centralized in space- first to have elevating elements

solid, stable rotunda- classical

doric columns (has base, plain column) and frieze- alternating designs-triglyph (3 columns) and metope (christian religious symbols-keys. chalices, etc.)

above- allternating scalloped and rectangular cut outs

Question 17

Answer 17

Medal commemorating beginning of New St. Peter’s, bronze, 1506 design by Bramante

plan for new cathedral

Question 18

Answer 18

Plan and axonometric reconstruction of New St. Peter’s design, Bramante’s design, 1506

alter in the middle right below center of dome- ultimate centrality

Greek cross- all legs the same size

Question 19

Answer 19

section of dome for St. Peter’s as proposed by Bramante

1506

intended to be a perfect circle

Question 20

Answer 20

Crossing of St. Peter’s as it was being built

tearing down Old St. Peter’s and building the new one at the same time

Question 21

Answer 21

Plans for New St. Peter’s, Bramante and Raphael

Rahael was interested in Bramante’s design, but still wanted a nave for procession

Question 22

Answer 22

Plans for St. Peter’s: Original, Bramante, Michelanglo, modern design

Question 23

Answer 23

Cortile del Belvedere, Bramante, begun 1505

route from Papal Palace to Belvedere Palace

separating wall added later

Question 24

Answer 24

Drawing of Cortile del Belvedere, Bramante, begun 1505, drawing from 1558-61

stairs up to Belvedere Palace

centrality to large gateways

Question 25

Answer 25

Cortile del Belvedere plane similar to palestrina fortuna primigenia in Rome

Question 26

Answer 26

*Palazzo Caprini Facade*, Bramante, 1510, Rome Raphael's home in Rome rustification- heavy on bottom, lighter on top doric columns, pediments, doric frieze destroyed by Mussolini

Question 27

Answer 27

*Tomb of Julius II 1532 plan*, Michelangelo attached to wall, less statues, columns

Question 28

Answer 28

Tomb of Julius II, Michelangelo, completed 1545, San Pietro in Vincoli only one statue by Michelangelo: Moses

Question 29

Answer 29

*Last Judgement*, Michelangelo, 1536-41, Sistine Chapel, Vatican, Rome, fresco Jesus in center- saved on his right, damned on his left earth on bottom, heaven in the highest parts opening to Hell right above alter- warning to priests/popes to be good...

Question 30

Answer 30

*Last Judgement*, Michelangelo, 1536-41, Sistine Chapel, Vatican, Rome Jesus's arm raised as if to strike down the damned, not as concerned with the saved this section of wall is pushed back at the bottom and then steadily comes forward with rest of wall- makes it look like Jesus is looming down over viewers Mary small, looks to the saved side

Question 31

Answer 31

*Last Judgement*, Michelangelo, 1536-41, Sistine Chapel, Vatican, Rome Angels play trumpets to raise the dead

Question 32

Answer 32

*Last Judgement*, Michelangelo, 1536-41, Sistine Chapel, Vatican, Rome dead rising from the grave, slowly become more alive- put on flesh, become less green, pulled up (saved) by roseries (faith)

Question 33

Answer 33

*Last Judgement*, Michelangelo, 1536-41, Sistine Chapel, Vatican, Rome Saved woman, face relieved, peaceful

Question 34

Answer 34

*Last Judgement*, Michelangelo, 1536-41, Sistine Chapel, Vatican, Rome Highest part- symbols of Christ- cross, crown of thorns, etc

Question 35

Answer 35

*Last Judgement*, Michelangelo, 1536-41, Sistine Chapel Devil-similar position to one of his prophets on Sistine ceiling demons whispering to him snake biting his junk

Question 36

Answer 36

*Last Judgement*, Michelangelo, 1536-41, Sistine Chapel damned man, demon attacking him, complete despair on his face even though half covered

Question 37

Answer 37

*Last Judgement*, Michelangelo, 1536-41, Sistine Chapel Peter and Bartholomew on left Bartholomew was skinned alive- holds skin with Michelangelo's face, holds knife close to Jesus's leg as if to say make sure you make the right decision

Question 38

Answer 38

*Last Judgement*, Michelangelo, 1536-41, Sistine Chapel highest point on damned side tools of flagellation- column, whip, etc

Question 39

Answer 39

*Plan for St. Peter's*, Michelangelo, 1546-64 centralized like Bramante's, but more square

Question 40

Answer 40

*Exterior of St. Peter's*, Michelangelo, 1546-64, Vatican, Rome colossal order- plasterns cover 2 stories great line above of plasterns- entablature: wraps around around all the elements and unifies them plus attic- alludes to empirical Rome front- Baroque artists added nave and front part- blocks view of dome

Question 41

Answer 41

*Dome of St. Peter's*, Michelangelo, 1546-64, Vatican, Rome not circle- oval-\> less outward pressure based on Duomo

Question 42

Answer 42

*Campidoglio*, Michelangelo, 1538-64, Capital Hill, Rome renovations to palaces statue of Marcus Aurelius (copy now) in oval now in museum (built to mirror opposite palace) palazzo- expands against the buildings, tense pavement design not executed until Facist era

Question 43

Answer 43

*Palazzo dei Conservatori*, Campidoglio, Michelangelo, begun 1563 museum similar facade to St. Peter's opposite building (Plazzo Nuovo) not finished until 17th century

Question 44

Answer 44

*Pieta*, Michelangelo, 1547-55, marble, Florence human man (Michelangelo or Nicodemus) presents Jesus parallels descent from cross Jesus embraces Mary Magdalene, she embraces him and man behind, man embraces Jesus- death missing leg- controversial

Question 45

Answer 45

*Pieta*, Michelangelo,1554-64, marble, Milan intended for his tomb unfinished before his death figures looking down, from heaven maybe Jesus is etheral, not dying like previous pietas not on his tomb (Santa Croce, Florence)

Question 46

Answer 46

*Madonna of the Harpies*, Andrea del Sarto, 1517, panel, Uffizi, Florence commissioned for alter of S. Francesco in Via Pentolini, Florence charoscuro, sfumato- extreme-\> Leonardo baby has secretive, mysterious smile- un-child like- Mona Lisa

Question 47

Answer 47

*Lamentation*, Andrea del Sarto, 1524, panel, Florence manerist chalice and host on bottom (above alter) below Jesus- can barely see him- sfumato Peter above Jesus- not usually in Lamentation (church dedicated to him) contemplative feel heavy figures, stable-\> high renaissance sarto is bridge between High Renaissance and Manerism

Question 48

Answer 48

*Annunciation*, Jacopo Pontormo, 1525-28, fresco, Capponi Chapel, Santa Felicita, Florence split by Baroque tomb Mary looks toward Gabriel *and* beyond to the Lamentation/Deposition

Question 49

Answer 49

*Lamentation*, Jacopo Pontormo, 1525-28, panel, Capponi Chapel, Santa Felicita, Florence Sarto pupil grief, sorrow, emotion, Mary's arm outstreched toward left no central figure- strange juxtaposition of hands Jesus's blueish lips and eyes- death, but not heavy- easily lifted by figures bottom figure looks out to audience- sorrow, skin tight shirt shows muscle and arm- Michelangelo self portrait- behind Mary, sombre colors, off to side

Question 50

Answer 50

*Descent from Cross*, Rosso Fiorentino, 1521, panel, Pinacoteca, Volterra experimental, strange much more drama, emotion, Mary just given up, Jesus is DEAD- green, collapsed (1300s), yet light, calm, graceful, Mary magdalene on ground clutching Mary, guys at top screaming, wailing crazy drapery- sharp lines, and color, large

Question 51

Answer 51

*Descent from the Cross*, Rosso Fiorentino, 1521, panel, Pinacoteca, Volterra John the Baptist head in hands drapery almost consumes him shows emotion even though we can't see his face

Question 52

Answer 52

*Dead Christ with Angels*, Rosso Firoentino, 1525-26, panel, Boston, MFA Jesus's face similar to one in Descent- peaceful, smiling- "It is finished" sensous, tense- left arm is propping him up, crossed ankles, lots of weight on tippy-toes, larger than life- Michelangelo- perfection of body angels and candles, classical curls

Question 53

Answer 53

*Jupiter and Io*, Carreggio, early 1530s, canvas, Vienna lush, erotic comes to her as a cloud stag- alludes to a psalm encounter with a god and response- face-pleasure

Question 54

Answer 54

*Jupiter and Ganymede*, Carreggio, early 1530s, canvas, Vienna slightly homosexual

Question 55

Answer 55

*Self-Portrait in a Convex Mirror*, Parmigianino,1524, panel, Vienna sombre colors-\> Raphael hand largest- shows patron that his skill is paramount circle panel- perfection-he is perfect angelic

Question 56

Answer 56

*Madonna and Child with Angels and St. Jerome*, Parmigianino, 1534-40, panel, Florence "madonna of the long neck" not quite finished-columns pieta position vase- purity, columns- Mary is like a column elongated neck- Michelangelo- enormous body and legs (drapery) vs dainty head- royal

Question 57

Answer 57

*Madonna and Child with Angels and St. Jerome*, Parmigianino, 1534-40, panel, Florence graceful-Mary is perfect some chiroscuro

Question 58

Answer 58

* Madonna and Child with angels and St. Jerome*, Parmigianino, 1534-40, panel, Florence st. jerome reading scroll unfinished- can see a foot meant for another figure

Question 59

Answer 59

*Cupid Carving his Bow*, Parmigianino, 1535, panel, Vienna

Question 60

Answer 60

*Allegory of Venus and Cupid*, Bronzino, mid-1540s, panel, National Gallery, London naughty, incestuous father time reveals the scene

Question 61

Answer 61

*Allegory of Venus and Cupid*, Bronzino, mid 1540s, panel, National Gallery, London jealousy yelling, pain

Question 62

Answer 62

*Allegory of Venus and Cupid*, Bronzino, mid1540s, panel, National Gallery, London figure of fraud conceals reptillian form