Final Exam Flashcards by Morgan McLamb

Sutton Hoo Purse Cover
Early Middle Ages, 5th C - 1050

Gold, enamel, glass, bone/ivory

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Chi Rho Iota page, Book of Kells
Early Middle Ages, 5th c - 1050

First three letters of Jesus’s name in Greek
From the first chapter of St. Matthew

shows two cats stalking mice - mice were considered evil. Cats became a symbol of good over evil.

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Palace Chapel of Charlemagne at Aachen
Early Middle Ages, 5th c - 1050

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Gero Crucifix
Early Middle Ages, 5th C - 1050

Commissioned by Arche Bishop Garrow, artist unknown
artist knew about death - bloated stomach.
head was hollowed to hold wafers
Made of wood.

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Santiago de Compostela
Romanesque, 1050 - 1200

Shrine to St. James, first apostle martyred after the death of Jesus.
badge is a scallop shell
popular for pilgrimages.

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Bayeux Embroidery/Tapestry
Romanesque, 1050-1200

Commissioned by Bishop Odo for nave of Bayeux church
230’ long, 20” high
represents the battle of Hastings
Most likely made by women - embroidery!

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Bonanno Pisano, Campanile (bell tower)
Romanesque, 1050-1200

Made from Marble
Tower was stabilized, but not straightened because of tourism
built on soft ground - hence the sinking
upper area has different angle to help stabilize the tower

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San Giovanni Baptistry
Romanesque 1050-1200

central plan, polygonal shape
color-striped marble
in 1300s was thought to be ancient roman architecture remaining
believed not a true florentine unless baptized in the baptistry.

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Cathedral of Notre Dame at Chartres (Chartres Cathedral)
Gothic 1150-1400

Signifigant fire in 1194 that damaged building.
Construction continued - two different towers resulting.
Cathedral is at highest pointin Chartres
Stained glass over window is some of the oldest surviving stained glass
ceiling is over 100’ high & required flying buttresses for the walls
(large stained glass windows made the walls unstable)

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Chartes Cathedral, Royal Portal
Gothic 1150 - 1400

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Cathedral of Notre Dame
Gothic 1150-1400

Became a symbol of the Monarchy in France
Much of the decorative sculpture is 19th century
first church planned to use flying buttresses
popularized “rose” windows - circular windows, became a symbol of Mary “rose without thorns”

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Sainte-Chapelle
Gothic 1150-1400

Vault decorated - blue with stars
small chapel built like a reliquary to house objects brought back from the crusades by Louis IX:
part of the crown of thorns
part of crucifixion cross
nail used to hold Jesus to Cross
metal tip from lance of Longiness
peice of sponge, believed to have dabbed lips of Jesus while he was on Cross
The relics are now in the holy treasury of Notre Dame

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Virgin and Child in Majesty, Duccio
Proto-Renaissance, 1250-1400

part of the Maesta altarpiece
both sides were painted with more than 40 scenes of Mary and Jesus’s lives
backside was removed from front in 1700s
some panels are all over the world
called Maesta (Majestic) because when the citizens of Sienna entered the studio they all cried out Maesta.

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Virgin and Child Enthroned, Giotto
Proto-Renaissance1250-1400

symmetrical scenes of angels and prophets
understanding of 3d space
Gold background, byzantine influence
may have used model references for figures

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The Lamentation, Giotto
Proto-Renaissance 1250-1400

depicts the death of Jesus, after removal from cross
weighted to the left side where Jesus is, strong diagonal to the lower left
barren tree in uppe rright, dealing with death
intense sadness portrayed

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Raising of Lazarus, Giotto
Proto-Renaissance 1250-1400

one of the key miracles performed by Jesus during his adult life
better sense of 3d, angled halos
full tree - dealing with life/resurrection
depicts women covering their noses because of decaying smell
sky is blue rather than byzantine gold, more realistic

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Birth of the Virgin , Lorenzetti
Proto-Renaissance, 1250-1400

installed around Mary’s Birthday, Sept 8th (traditional)
Anne has already given birth
similar to images of christ child being washed
sense of depth
triptych
women holding bread and wine - allusion to communion

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Merode Altarpiece, Workshop of the Master of Flemalle
Flemish Renaissance, 1400-1500

Merode - last family to own it.
Triptych
perspective troubles - too angled
husband and wife patrons on left witnessing annunciation (Englebreck)
Carpenter on right drilling holes into wine press (blood of christ)

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Ghent Altarpiece (open), Jan & Hubert van Eyck
Flemish Renaissance, 1400-1500

painting done by Jan, framing done by Hubert
gives illusion to space, looking up at adam and eve, as if they’re coming out of their niches.
Eve looks serpentine - one leg is visible

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Ghent Altarpiece, Jan & Hubert Van Eyck (closed)
Flemish Renaissance, 1400-1500

depicts annunciation with Gabriel on left and Mary on right
Lower panels include patrons (Vid)
Lower central panel represents St. John Evang. and St. John Bapts. (sculpture)

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Double Portrait of Giovanni Arnolfini and his Wife, Jan Van Eyck
Flemish Renaissance 1400-1500

“Jan Van Eyck was here” signed near mirror
Woman has bloated stomach - fashionable @ the time
Dog represents Loyalty/fidelity
St. Margaret on bedpost (Saint of childbirth), beads rep. purity.
one candle burning, trad. marriage custom. Light one candle on day of marriage to burn through evening when consummated.
Man @ window - mans world. Woman @ bed - domestic

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Crucifixion with Mourning Virgin and St. John, R. Van der Weyden
Flemish Renaissance, 1400-1500

diptych (may have been more)
takes place in Calgary - skull and bones rep. Calgary/Golgotha
painted after visit to Italy during Lent - red drapery was hung in churches (possible link), strong possibility due to painting during Jubilee year - extra dispensation when going to St. Peter’s

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Portinari Altarpiece/Adoration of the Shepherds, Hugo van der Goes
Flemish Renaissance 1400-1500

painted for a hospice tending to expecting mothers
oil rather than tempera paint
part of Triptych
Harp in tympanum of building represents David (played harp)
used gold dust mixed into oil paints for shimmery effect
Ceramic vase painted with grapes - reference to blood of christ
various expressions on Shepherds

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Garden of Earthly Delights, Bosch
Flemish Renaissance, 1400-1500

triptych, unknown commissioner
makse use of atmospheric perspective
Hedonistic portrayals of people (and animals, and..fruit?) in sexual acts
left panel - garden of eden, pre-sin
central panel: population explosion, hedonism
right panel: Hell
bizzare and odd painting.

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**Sacrifice of Isaac, Ghiberti** Early Italian Renaissance, 1400-1495 made for competition for the Baptistry in Florence to do the Doors

**St. George, Donatello** Early Italian Renaissance 1400-1495 freestanding, in the round, marble

**Feast of Herod, Donatello** Early Italian Renaissance, 1400-1495 cast bronze, relief panel Expressive reactions to the presentation of the head of St. John Bapts. one of earliest uses of liniear 1pt perspective

**Gates of Paradise, Ghiberti** Early Italian Renaissance, 1400-1495 dubbed by Michelangelo, after Ghiberti's time weighed 3 tons, bronze, 20ft tall fully gilded represents scenes from old testament

**David, Donatello** Early Italian Renaissance, 1400-1495 Free standing, sculpted in the round, cast bronze first free-standing cast bronze since ancient times life-sized, just over 5' represents a boy rather than man, wearing fashionable hat displayed in courtyard of Medici family home Has just slain and beheaded Goliath

**Mary Magdalene, Donatello** Early Italia Renaissance, 1400-1495 Non-traditional representation of Mary Magdalene (typically depicted beautifully) Represents Mary after death of Jesus carved, painted wood was damaged during flood in Giovanni Baptistry Donatello had painted veins in her legs, anda pplied gold dust to make her shimmer

**Foundling Hospital, Brunelleschi** Early Italian Renaissance, 1400-1495 Orphanage, funded by the guilds of florence provided medical care, education, and housing for children long, flat horizontal building uses grey stone to contrast the white walls used pendentives to create domes behind each arch rotary table for anonymous deposit of unwanted child directly purpendicular to a church dedicated to women unable to concieve

**Dome of Florence Cathedral, Brunelleschi** Early Italian Renaissance, 1400-1495 Dome rises 30 stories 138' diameter largest masonry dome in the world invented equipment for construction & models Models are still in florence museum double-shelled dome - outer layer is elongated, inner done is traditionally rounded. The statue of David was meant to be placed atop the dome

**San Lorenzo, Brunelleschi** Early Italian Renaissance, 1400-1495 originally Romanesque church, Medici family renovated/updated the look. Hired Brunelleschi to remodel interior Basilica Floorplan dome over the crossing trancept flat, coffered, ceiling overhead instead of vaults

**Trinity with the Virgin, St. John the Evangelist, and Donors** - Masacchio Early Italian Renaissance, 1400-1495 Funerary fresco for donors Donors attires match Mary and St. John's Skeleton on top of sarcophagus at bottom of the painting "I was once what you are. What I am, you will be." perspective, corinthian columns, accented colors Sarcophagus seems below eye level, Crucifixion above eye level (base of cross is eye level)

**The Tribute Money,** Masacchio Early Italian Renaissance, 1400-1495 Story from the life of St. Peter modeled after a triptych

**Madonna and Child with Four Saints (St. Lucy Altarpiece),** Veneziano Early Italian Renaissance, 1400-1495 Sacra Conversazione - sacred conversation depicts St. John Bapts, St. Francis, St. Zenobius, and St. Lucy Triptych Elaborate saints on right, simplistic on left Veneziano is one of the pioneers of sacra conversazione

**Battle of the Nudes,** Pollaiuolo Early Italian Renaissance, 1400-1495 Ink on paper Ficticious combat idealized male figures, various states of contrapposto figures in an oval design

**The Birth of Venus,** Botticelli Early Italian Renaissance, 1400-1495 Venus/Aphrodite - goddes of love and beauty one of the first images to represent pure mythological subject painted for Medici family Tempera on canvas Meant to emphasize spiritual beauty over physical beauty - humility/modesty zephyrs on left (like angels) Flora on right, ready to clothe her triptych design (3 parts!) mimics scenes of the baptism of Jesus Venus in same pose as the Medici Venus sculpture

**The Last Supper, Leonardo** High Renaissance, 1495-1520 Fresco in refrectory (dining hall) feet of Jesus were cut off by addition of a doorway done in both water based and oil paints repainted several times The Last Supper is mentioned in all four gospels

**Mona Lisa, Leonardo** High Renaissance 1495-1520 Portrait of Lisa Gherardini Duke of France purchased painting from Leonardo but was not able to have it until after Leonardo's death

**Pieta**, Michelangelo High Renaissance, 1495-1520 Pure white Marble Mary holding dead Jesus after removal from Cross - the last goodbye "Michelangelo Buonorotti of Florice Made It" across Mary's ribbon on chest highly polished to a shine stoic, peaceful expression on Mary's face

**David, Michelangelo** High Renaissance, 1495-1520 Intended to be placed atop Duomo, but florentines like it so much they put it outside the city hall Replaced a sculpture by Donatello (Judith with head of Holofernes) Idealized Greek style hand was broken off when a chair was flung at Medici, Statue was moved to museum, but to-scale replica was put outside the town hall

**Moses, Michelangelo** High Renaissance, 1495-1520 From Pope Julius II Tomb design holding 10 commandments beard seems overly large - statue is meant to be seen from below Horns - strong anti-semitism - jews were beleived to be ddecended from the devil, traditinally represented with horns or, mis-translation of light may have lead to the horns

**Creation of Adam (Detail from Sistine Chapel ceiling), Michelangelo** High Renaissance, 1495-1520 Stop moment - just before God puts spark of life into Adam Eve is waiting, not yet created, at God's side in heavenly realm

**The Last Judgement (Sistine Chapel altar wall), Michelangelo** High Renaissance, 1495-1520 Not compartmentalized - chaotic and jumbled Focal point is Jesus figures were originally nude, but were painted with clothes later figure of St. Bartholomew holding skin - skin is recognized as a self-portrait by Michelangelo

**Madonna of the Goldfinch, Raphael** High Renaissance, 1495-1520 created for private chapel uses Sfumato - golden brown light Triangular setup Faint halos - almost unnoticeable

**The School of Athens, Raphael** High Renaissance, 1495-1520 architecture is Roman, not Greek represents Greek Philosophers Two figures in center are Aristotle and Plato - figureheads of Philosophy believed that the figure in front, Heroclitis, is a portrait of Michelangelo, wearing stone-cutter's clothes (would have worked in proximity)

**Venus of Urbino**, Titian High Renaissance, 1495-1520 may be related to marriage - marriage chest Makes use of Sfumato and Chiaroscuro could also be related to fertility and beauty

**St. Peter's Plans**, Michelangelo High Renaissance, 1495-1520 Plans drawn up for remodeling of St. Peter's Michelangelo dies before it is finished Dome was finished by G. della Porta

**Madonna of the Long Neck**, Parmigianino Mannerism, 1520-1600 christ child is large, mary's body is distorted and elongated Emulates Michelangelos' Pieta

**Battle/Rape of the Sabine Woman, Giambologna** Mannerism, 1520-1600 dramatic, public outdoor sculpture, just outside town hall life-sized figures/slightly over-life-sized

**Saltcellar of King Francis I, Cellini** Mannerism, 1520-1600 held salt and peppercorns gold, enamel, and inlaid gems meant to be publicly displayed and spark conversation represents Neptune (god of the sea) and Mother Earth Influenced by Michelangelo's designs for Medici family tombs

**Feast in the House of Levi,** Vernoese Mannerism 1520-1600 pseudo triptych, created by three arches in painting very large sized painting, architecture would seem realistic creates a sense of space Commissioned by monastery, assumed to be last supper initially made to look like venetian banquet

**The Last Supper, Tintoretto** Mannerism, 1520-1600 dark, unusually angled painting - in a cellar of some sort all apostles have small halos, but Jesus has largest halo strong use of chiaroscuro smoke from lit lamps turns into angels Judas is on opposite side of table by himself Jesus is distributing the bread, later than Leonardo's version of Last Supper

**San Giorgio Maggiore, Palladio** Mannerism, 1520-1600 faces the grand canal in Venice on it's own island across from St. Mark's sq. width of church should equal height engaged corinthian columns and pediment paintings by tintoretto still in the church on either side of altar

**St. Peter's Facade, Maderno** Baroque, 1600-1750 changed Michelangelo's designs, frontal facade is curved front of building has been extended, so Michelangelo's Dome cannot be seen well engaged columns rather than free-standing soft yellow stone used to give church a golden hue

**David, Bernini** Baroque, 1600-1750 stopped action, readying sling emotional representation evident on face creates sense of movement through the fabric and hair meant for a private gallery in Rome Life-sized

**The Ecstacy of St. Teresa of Avila, Bernini** Baroque 1600-1750 looks almost akin to the annunciation, but is def. not very popular saint who wrote about her visions very sexual in design mixed media - marble, stucco, gold, and glass

**St. Peter's Piazza, Bernini** Baroque, 1600-1750 looks like a keyhole - reference to keys of St. Peter (to heaven) designed using reverse perspective - looks closer as you enter, and seems further away as you leave deliberate use of classical architecture including free-standing columns, using roman variant of duric columns statues added at a later date, represent different holy figures

**The Calling of Saint Matthew,** Caravaggio Baroque, 1600-1750 use of tenebrism - dramatic use of chiaroscuro (working lights against darks) powerful diagonal leads eye down to lower left of painting subtle halo on Jesus use of non-idealized models for references avoidance of deep space, makes it feel as everything is closer

**Judith and Maidservant with the Head of Holofernes,** Gentileschi Baroque, 1600-1750 secondary painting in a series suggestion of something happening outside of view Gentileschi was a female painter, taught by her father

**Catharina Hooft and her Nurse, Hals** Dutch Baroque, 1600-1750 presents a child of priveledge with her nurse Gold rattle also shows staure Made to flatter the patrons Fabrics are elaborate - lace trim and brocade

**Malle Babbe, Hals** Dutch Baroque, 1600-1750 represents a lower class, "woman of the night" (not prostitute) Malle Babbe - dutch expression for crazy old woman spontaeneous portrait - non flattering Middleclass buyers would enjoy it for how inappropriate it is

**Woman with a Water Jug, Vermeer** Dutch Baroque, 1600-1750 portrays Merchant household, woman (not servant) preparing to water her flowers Leaded glass denotes status Luxurious decor in painting - carpet on table, and map on wall non-religious figure, still seems spiritual

**Woman Holding a Balance, Vermeer** Dutch Baroque, 1600-1750 strong emphasis on primary colors Depicts woman in back of a studio w/ scales (jeweller's studio) painting in background is religious, last judgement in style Woman w/ scales mirrors the weighing of souls

**Flower Still Life, Ruysch** Dutch Baroque, 1600-1750 Female artist, characteristic subject for female artists to paint flowers didn't all bloom in same season, composite image concieved over multiple months/seasons Strong diagonal from lower left bloom to top right

**Anatomy Lesson of Dr. Nicolaes Tulp, Rembrandt** Dutch Baroque, 1600-1750 Public work, meant to hang in the surgeon's hall Shows Tulp giving an anatomy lesson to his students (varying interests) All the faces recieve light, they stand out from the dark

**The Company of Captain Frans Banning Cocq (The Night Watch), Rembrandt** Dutch Baroque, 1600-1750 commissioned group portrait, handled dramatically two figures in front are focal Glowing figure of a little girl with chicken at her waist, not a member of the watch use of Impasto (layering of paint) to create texture and shine

**Self Portrait, Rembrandt** Dutch Baroque, 1600-1750 painted a year before he lost his studio and home serious expression, differs from previous self portraits beret - style that denoted artists had a compulsive shopping problem

**Three Crosses, Rembrandt** Dutch Baroque, 1600-1750 etching - a metal plate is covered with acid resistant substance and the artist scrapes away the material. Then the plate is dipped in acid. This is a multi-step process that is usually done several times to get desired effect third state out of six Holland was a protestant state, religious material was not popular (better for Florence or Rome)

**Louis XIV, Rigaud** French Baroque, 1600-1750 longest reigning monarch (72 years) was thrilled with this image (he was 63 at the time) shows off shapely legs - enjoyed ballet!

**Versailles - LeVau, Mansart, Le Notre, LeBrun** French Baroque, 1600-1750 Louis XIV made entire French aristocracy move to Versailles Built in less than 10 years river was rerouted to create fountains on grounds

**Vellum**

A thin "paper" made from animal skins

**The Evangelists**

Matthew, Mark, Luke, & John

**Repousse**

hammering metal from the rear to gain an image instead of moulding.

**Holy Relic/Reliquary**

Holy Relic - an object that has religious signifigance, usually belonging to or having to deal with saints or holy figures. Reliquary - a vessel created to hold Holy Relics

**Tympanum**

semi-circular or triangular decorateve wall surface over an entrance.

**Basilica Plan / Central Plan**

Basilica Plan - Church floor plan in a latin-cross type layout. Central - Church floor plan that is more circular or square, like a Grecian cross

**Nave, Apse, Transept, Ambulatory**

Nave: The central aisle of the church, typically where the congregation would sit. Apse: area at the end of the Nave, opposite the entrance, where the Altar is located. Transept: An arm that goes across the Nave Ambulatory: An aisle walkway that goes around the nave, transept and apse, allowing for people to walk around without interrupting the congregation, and enables people to view reliquaries if available.

**Santiago de Compostela**

Church along pilgrimage route, dedicated to St. James

**Crusades**

Holy wars - Christian church at war with Muslims in the East

**Flying Buttresses**

Exterior support in Gothic architecture that stabilized walls where stained glass windows were prominent, and made the walls unstable.

**Fresco**

Painting onto wet or dry plaster so that the painting becomes part of the wall.

**Icon**

An image depicting a religious figure

**Quatrefoil**

A four-loved flower-like design in architecture

**Black Death**

The bubonic plague, spread by diseased rats, killing off 50-80% in parts of Italy

**Triptych / Polyptych**

Triptych - a 3 panel altarpiece Polyptyc - more than 3 panel altarpiece

**Oil Painting / Egg Tempera**

Oil Painting: pigments are mixed with oil, resulting in a rich color. Egg Tempera: primary type of paint before Oil paint. Pigments are mixed with egg yolk to create paints. Yolks discolored the pigments, so the colors were not as vibrant

**Atmospheric Perspective**

an artistic devie that creats a 3d quality in the work by dimming or fading out details in the background with blue or grey hues to create a sense of depth.

**Disguised symbolism**

Giving hidden meaning to ordinary objects in a work of art

Alberti, "On Painting"

First written information regarding linear 1-point perspective

**Orsanmichele**

grain hall turned church, funded by various guilds in florence, whose facade was decorated with saints. Current sculptures are copies, originals are in museum.

**Linear one-point perspective**

an artistic device that gives a sense of dimensionality. All the lines move in a way that they meet at a point (vanishing point), creating the illusion of depth.

**Orthogonols**

lines that are parallel to the ground plane and move back from the picture plane.

**Vanishing Point**

The point at which the orthogonals of a linear one-point perspective piece meet.

**Terra Cotta**

"baked earth" clay based work, baked in a kiln

**Palazzo**

a City home

**Contrapposto**

Counterpose, A figure standing with most of its weight on one foot, the other relaxed. Arms are typically in opposite tenseness.

**Sacra Conversazione**

A sacred covnersation. A depiction of Madonna and Child with various saints having a conversation

**Intarsia**

A form of wood inlaying to create a flat image that appears to be dimensional, using various cuts of differnt colored wood to create the image.

**Metal-plate engraving**

The artist carves into the metal plate to create an image, which is then inked and pressed onto paper to create a print.

**Chiaroscuro**

Working light against darks to create a dimensional form

Sfumato

A smokey, golden brown coloring used in painting

**Pope Julius II**

High Renaissance Pope who commissioned art from both Michelangelo and Raphael, as well as remodel St. Peter's

**Inquisition**

A group created by the Roman Catholic Church in order to combat heresy and unfaithfulness, beginning in 12 cent. France

**Villa**

A Country Home

**Reformation**

The Protestant Reformation, began by Martin Luther, challenges papal authority, as well as the sense of corruption and administrative abuse within the Roman Catholic Church.

**Counter-Reformation**

The Catholic revival that began at the end of the THirty Years' War, in response to the Protestant Reformation, to reconfiger the structure of the Church as well as deal with the supposed corruption within the Church.

**Piazza**

A public space / plaza area

**Stucco**

Lime and marble dust combined with water to make a paste-like clay-like substance that can be moulded, and has an interesting textural quality that can also be painted.

**Tenebrism**

A dramatic use of Chiaroscuro, working lights against darks to create dimensionality