Midterm Flashcards

Question

Answer 1

* Donatello, *David*, Quattrocento Italy, Bronze * contrapposto * revival of classical statuary style - nude male portraiture * feminine figure - vulnerability * introspective - figure doesn’t look outward at us * wears 15th century style hat and shin guards * nudity connects to ancient statuary * symbol of Florentine independence and flourishing of economy + culture

Answer 2

* Filippo Brunelleschi, Santo Spirito (interior; plan), Quattrocento Italy, Florence * Basilican church - structure resembling a Roman basilica, usually entered from one end and with an apse on the other * designed with 4 entrances, built with 3 entrances * designed with “bumpy” exterior, filled in when built - smooth profile * dome-covered crossing square * ratios in widths, heights, etc. - mathematical harmonies

Answer 3

* Leon Battista Alberti, west facade Santa Maria Novella, Quattrocento Italy, Florence * Patron: Rucellai family * Church built in 13th century → retain existing doorways and tombs in facade * mathematically balanced and harmonious facade - based on geometry * can be set within a perfect square - width = height * can divide into 2 equal levels at base of rose window * sense innately the balance and harmony * incorporates ancient Greek and Roman temple design * triangular top - pediment * Greek writing * columns * ornamental panels and decorations

Answer 4

Maturity of artistic developments initiated in 15th century: * scientific perspective * anatomy * interest in classical cultures * humanism Coincidence of careers of 3 Renaissance masters: * Leonardo da Vinci, 1452-1519 * Raphael, 1483-1520 * Michelangelo, 1475-1564 Elevation of status of visual art Promotion of notion of the artist as intellectual thinker rather than manual craftsman

Answer 5

* Leonardo da Vinci, *Madonna of the Rocks*, High Renaissance, Oil on wood (transferred to canvas) * figures radiate light - golden wash to skin * emotion in faces - individualized * figures interact with each other - unified composition of the group * accurate use of light and shading * chiaroscuro - creates depth and atmosphere * temporally consistent and earthly setting * nature is the throne of divinity * pyramidal composition - movement from 2-D triangle arrangement (early renaissance) to 3-D * sfumato

Answer 6

subtle play of light and dark

Answer 7

from the Italian for smoke; hazy, misty, indistinct atmosphere

Answer 8

* Raphael, *Madonna in the Meadow*, High Renaissance, Oil on wood * natural setting * brightly lit instead of hazy; atmospheric perception * pyramidal composition * more believable childishness * Mary as “stabilizing backdrop”

Answer 9

* Raphael, *Philosophy (School of Athens**)*, High Renaissance, Fresco * commissioned by Pope Julius II * center figures as focal point - Plato and Aristotle * classical setting: Greek/Roman sculpture; architecture; ancient style of dress * mixing of Greek and Roman time periods * fabrication of setting + scene * crowded - “stage choreography” in arrangement of figures * Raphael’s idea and rendering of philosophers, thinkers, mathematicians, etc. all brought together

Answer 10

* Raphael, *Galatea*, High Renaissance, Fresco * mythological creature (Galatea) similar to his Madonnas * complicated posing of figures * convincing figures; 3-dimensional

Answer 11

* Raphael, *Baldassare Castiglione*, High Renaissance, Oil on canvas * portraiture - memorializing a person; projecting their values * humanistic foundation in interest in individual possibility/potential * Book of the Courtier (written by Castiglione) → handbook on genteel behavior and attributes of perfect Renaissance courtier * impeccable character, noble birth, military achievement, classical education, knowledge of the arts * portrait represents these qualities - refined but not flashy; muted colors/dark tones; bright, clear eyes & hands; fine clothing * eyes show age, wisdom * hands are docile - thinker * shift from profile portraiture

Answer 12

emotional intensity, physical power, dramatic excitement; associated with Michelangelo

Answer 13

* Michelangelo, *David*, High Renaissance, Marble * nudity emphasizes vulnerability * oversized hands, feet, and head - manipulated proportions * hands as tools of David’s battle - largeness shows strength and power * contrapposto * posed - preparing to launch stone - tension * more muscular and adult than other depictions of David * reminiscent of ancient Roman & Greek statues - musculature; nude male form

Answer 14

* Bramante, Tempietto - San Pietro in Montorio, Renaissance, Rome * “little temple” * located where church believed Saint Peter was martyred * classical architectural style - Roman, ancient Greek temples for a Christian monument * tholos temple - round temple (Greek); commemoration of death * Tuscan column - Roman * central plan

Answer 15

all points on exterior are equidistant from central point on interior

Answer 16

* Andrea Palladio, Villa Rotonda, Renaissance, Vicenza * central plan * private commission * porches take on appearance of Greek/Roman temple front * belvedere

Answer 17

Italian, “beautiful view”; a structure designed to command a view and capture daylight and fresh air

Answer 18

* Giorgione, *Pastoral Symphony*, 16th Century Venice, Oil on canvas * poesia * pastoral * characters are musicians, appear to be having a conversation - intimate integration; involved with each other * sheep & shepard in the background - emphasis on countryside/rural * earthy, natural clothing colors - differences in men’s clothing tell status/class * nudity of female figures - but not revealing - muses - meant to be read as figments of imaginations of two men * combination of sfumato and thick color saturation * draws from sacra conversazione

Answer 19

term referring to works inspired by the myths, fables and legends related to ancient authors

Answer 20

relating to the countryside or the lives of people who live in the country; a literary work dealing with shepherds or rural life in a usually artificial manner and typically drawing a contrast between the innocence and serenity of the simple life and the misery and corruption of city and especially court life; a rural picture or scene

Answer 21

term applied to an altarpiece in which attendant saints are grouped in a unified space around the Virgin and Child; figures might be meditating, reading, gesturing to one another or conversing

Answer 22

* Titian, *Venus of Urbino*, 16th Century Venice, Oil on canvas * more secular than religious * dark curtain separates Venus from background figures; division into two halves * diagonal balance of maid’s red dress and red bed * woman has long upper body; very small legs and feet - manipulation of the body for effect instead of anatomical accuracy * smooth, glowing skin; looks airbrushed; shadows on edges to highlight curves

Answer 23

* Michelangelo, *Last Judgment*, Late Renaissance, Fresco * Commissioned by Pope Clement VII and Paul III * at the end of time, Christ will return and will stand in judgment * writhing bodies and forms * organized around central image of Christ - surrounded by Saints and resurrected beings in the heavens * angels flying above/throughout the composition * below Christ - resurrection and judgment of souls * Christ’s right = realm of blessed * Christ’s left = realm of condemned * Christ is strangely muscular and large → power of Christ * Mary is demure - cowering under arm of Christ - overwhelmed by power * masculinity of angels - muscular

Answer 24

* Giovanni da Bologna, *Abduction of the Sabine Woman*, Late Renaissance, Marble * figura serpentina * different pieces of information as you move around the statue * classical proportions of body - musculature, nudity * bulkiness of proportions * dynamic, movement, physicality of figures * emotionality in faces

Answer 25

upward, snakelike spiraling motion to be seen from all sides

Answer 26

* Tintoretto, *Last Supper*, Late Renaissance, Oil on canvas * spiritual, mystical aspects - bright glowing halos * the spiritual made visible - angels * movement, drama * not only the 12 apostles + Christ are present - mundane activity around the central image - bustle * not everything goes to the same vanishing point - skewed perspective (doesn’t conform to linear perspective) - dynamic and dramatic element * positioning of Christ - slightly off center, well into the background

Answer 27

* mid to late 16th century, after high renaissance and before baroque of 17th century * purposeful distortion of and playing with representational rules and drive for naturalism achieved in high renaissance * self-consciousness of art → artifice; referencing art rather than nature * elite audience

Answer 28

* Jacopo da Pontormo, *Entombment of Christ*, Mannerism, Oil on wood * commissioned for private chapel * surprisingly bright colors - contrasts with mood of scene * no setting - only sky as background * effortlessness of lifting Christ * unknown perspective/angle of viewing - some people higher than others - circling/spiraling around Christ * vague expressions/feelings of figures * void between Christ and Mary in the center of the painting - spiral of hands

Answer 29

* Giulio Romano, courtyard - Palazzo del Té, Mannerism, Mantua * commissioned by Federico II Gonzaga, Marquis of Mantua, 1519-30 * Inscription: “This is a Palazzo for free time and enjoyment, for the honest leisure of the prince, whose energy is restored amid the peace and calm” * keystones (angled stones that make an arch) above rectangular opens - keystones are unnecessary * columns as sculptural decorations - not serving any supportive function - large and bulky * from underneath - looks like stones are going to fall down onto you - slipping triglyphs * voussoirs in triangular pediments * broken architrave

Answer 30

* Albrecht Dürer, *Self-Portrait*, 16th Century Northern Europe, Oil on wood * Christ-like * frontal view - appears to look past/through you - somber - brightness in top half of face & eyes * draw attention to eyes and hands --\> show he's an artist

Answer 31

* Albrecht Dürer, *Fall of Man (Adam and Eve)*, 16th Century Northern Europe, Engraving * animals have symbolic presence * lush, thick woods - trees frequent in German forests * biblical theme in contemporary setting * cat & mouse - Eve & Adam - Eve as “temptress” * long, flowing hair - associated with witches in Germanic folklore * engravings can be “mass produced” * Eve in traditional feminine pose, but has muscle definition (something Michelangelo did - muscular women) * draws from classical forms of representation * Adam’s pose - based on Apollo Belvedere * Eve based on Aphrodite

Answer 32

* Matthias Grünewald, *Isenheim Altarpiece*, 16th Century Northern Europe, Oil on wood * originally commissioned for chapel of a hospital - patients with Ergotism * scene of crucifixion - Christ as focal point * appears above Christ being entombed - Predella of the altarpiece * Christ emaciated, skin stretched across the bones, hands contorted * Christ slightly right of center - balanced through arrangement of figures * aligned so that opening of door bisects his arm, at the knees in the predella - reflects suffering of hospital patients * sympathy - Christ suffers in the same way that the patients suffer - comfort through identification

Answer 33

* 16th Century Northern Europe * schism within western Christian church initiated by reformers Martin Luther, John Calvin, and others * Reformist arguments: * primacy of scripture * doctrines of faith and grace * direct access to God through Christ * Rejected: authority of Pope, merit of good works, indulgences, mediation of Mary and other saints, most sacraments (baptism), **transubstantiation** (bread and wine = blood and body), purgatory, prayers for the dead, confession to a priest, all paraphernalia expressing these ideas * Effects on art: * iconoclasm * shifted patronage away from the church to private, secular sources * heightened interest in portraiture, genre, still life, landscape

Answer 34

destruction of images

Answer 35

* Lucas Cranach the Elder, *Law and Gospel*, 16th Century Northern Europe, Woodcut * Protestant reformation * tree as center division - Catholic world on left, Protestant world on right * Catholicism = threatening, chaotic * Moses holding tablets - importance of law * Christ as judge * Adam and Eve - sinfulness * Protestantism - direct line from Christ to man - grace of God rains down on faithful * Christ trampling death and sin

Answer 36

* Jean Clouet, *Francis I*, 16th Century Northern Europe, Tempera and oil on wood * overly large body - strange proportions * voluminous cloth → wealth * large nose, hint of smile * brocade cloth background

Answer 37

* Chateau de Chambord, 16th Century Northern Europe, Chambord France * varied levels of roof lines, sculptural decoration at top of building - verticality * main body is very Italian Renaissance → roofline looks back to medieval legacy

Answer 38

* Hans Holbein the Younger, *The French Ambassadors*, 16th Century Northern Europe, Oil and tempera on wood * objects on table: musical instrument, globe, astrolabe, celestial globe, mathematical tools, tapestry as table cloth * ambassadors dressed lavishly, learned men, serious facial expressions - masters of Renaissance ideal - knowledgeable, minds in tangible world and aspiring to intangible world * skull - anamorphic image - can only see it from a particular angle * memento mori

Answer 39

reminder of death

Answer 40

* refers to art of 17th century in Europe * not uniform in genre or style * implications of “grotesque” or “overwrought” * derived from Portuguese “barroco” and Spanish “barrueco” (irregularly shaped pearl) → criticism in comparison to Renaissance art and architecture * Renaissance = precise, orderly, rationality of classical models * Baroque = dynamism, theatricality, elaborate ornamentation, ornate and complex

Answer 41

* Catholic response to Protestant Reformation * Council of Trent, 1545-63 * condemn principles and doctrines of Protestantism * clarify and reaffirm doctrines of Catholic church * Use of art as means of glorifying Catholic doctrine and representatives of church * Effect on art in Catholic countries: * church as major patron * religious subjects commissioned for public display by the papacy, individual churches/religious institutions, private patrons for family chapels, etc. * persuasive art → instruct, delight, move

Answer 42

* Carlo Maderno, east facade of St. Peter's, Baroque, Vatican City Rome * loses central plan - becomes a natural cross * dome becomes more vertically oriented to remain visible behind the facade * rounded columns in middle, square on edges * closer together in middle, farther apart on edges * rhythm of architectural numbers

Answer 43

* Gianlorenzo Bernini, *David*, Baroque, Marble * in action - about to kill Goliath - movement, in action * still naked, but covered * anger and concentration in facial expression * classical tradition of anatomical study and representation - idealized musculature

Answer 44

* Caravaggio, *Entombment*, Baroque, Oil on canvas * tenebrism * dramatic poses of figures * carrying of Christ conveys weight and struggle * figures set at an angle - project out at us - disrupt space between painting and viewer * appear to lower Christ’s body onto altar - goes along with Catholic Counter-Reformation & transubstantiation

Answer 45

violent contrasts of light and dark

Answer 46

the literal (and not just symbolic) transformation of the bread and wine offered during the Eucharist in the Catholic mass into the blood and body of Christ

Answer 47

* Artemisia Gentileschi, *Judith Slaying Holofernes*, Baroque, Oil on canvas * tenebrism - emerge from total darkness, revealed in light * figures project out at viewer * powerful image of woman * drama * influenced by Caravaggio (*Entombment*)

Answer 48

* Annibale Carracci, *Triumph of Bacchus and Ariadne* (central panel Loves of the Gods), Baroque, Fresco * chaotic - abundance of overlapping figures - depicted in motion → joyous yet chaotic atmosphere (a party!) * lightness in colors, brightness, evenness of tone, soft transitions from shadow to highlight * sense of power * classicizing forms

Answer 49

* Juan Sánchez Cotán, *Still Life with Game Fowl*, Baroque, Oil on Canvas * attention to detail, texture, lighting, arrangement of elements * bodegón * make items appear noble, grander than they are * lighting reminiscent of Caravaggio - drama, high contrast

Answer 50

* from spanish bodega for pantry or tavern * in art, a still-life painting depicting pantry or food items, often arranged on a simple stone slab; also a painting with one or more figures, but significant still-life elements, typically set in a kitchen or tavern

Answer 51

* Diego Velázquez, *Las Meninas*, Baroque, Oil on canvas * figures look in range of different directions - some look in our direction, others look at each other * portrait of Velázquez painting a portrait of the princess * mirror in background - king and queen - are they the subject of the painting on the canvas? * “painterly” style - visible brushstrokes * alignment of centers, perspective, etc do not perfectly align * single vanishing point, but not at exact center of composition

Answer 52

* Peter Paul Rubens, *Consequences of War*, Northern Baroque, Oil on canvas * response to Thirty Years’ War 1618-48 * central figure = Mars - figure of warfare (personifications drawn from mythology) * strong diagonal lines of bodies → movement → left to right progression * innocent victims of warfare (music, art, education, etc.) * distressed woman with arms thrown up - personification of Europe - torn apart by war * building in background - Temple of Jupiter, doors thrown open in times of war * allegorical but clear impression of war and its detrimental effects * loose brushwork

Answer 53

* Peter Paul Rubens, *Elevation of the Cross*, Northern Baroque, Oil on wood * triptych altarpiece * strong diagonal of Christ’s body, cross, men trying to lift it - dominating organizational form * echoed on left side with women * counterbalancing diagonal on right with Roman soldiers + horses * sense of weight and gravity - struggle to lift Christ and cross * light on Christ - highlights divinity * base of cross appears to be lifting onto the altar - visually implies projecting the physical presence of Christ - **underscore idea of transubstantiation (counter-reformation)**

Answer 54

* Anthony van Dyck, *Charles I Dismounted*, Northern Baroque, Oil on canvas * dressed in finery, but not the usual heavy robes - authority doesn’t come from clothing * pose - communicates casual authority * head bordered and highlighted by darkness of hat (separate lightness of face from lightness of sky in background) * horse appears to be bowing down to him * vista in the background - looking onto the king’s territory, but he is larger and more important * tree branches arch around him - quasi-halo * natural elements constructed to convey authority, power, quasi-divinity

Answer 55

* Rembrandt van Rijn, *The Company of Captain Frans Banning Cocq (Night Watch)*, Northern Baroque, Oil on canvas * group portraiture * levels of depth to figures, stacking, grouping * feeling of group but portraits of each individual * narrative - about to march out on a parade (civic celebration) * leader is tallest, largest, brightest, in center, in action - shows power * symbolism - laurel wreath; chicken foot (help to identify the group)

Answer 56

* Rembrandt van Rijn, *Self-Portrait*, Northern Baroque, Oil on canvas * authoritative confident stance, but relaxed * looking out at us - detail around eyes engages viewer * holding palette, brushes, painters tools - portrays himself as an artist * different from other artist self-portraits; Durer’s doesn’t paint himself as an artist directly working * soft, loose brushstrokes

Answer 57

* Rembrandt van Rijn, *Christ with the Sick around Him Receiving the Children (Hundred-Guilder Print)*, Northern Baroque, Etching * highlights humanity of Christ and his accessibility to common people (of concern to Protestants) * range of tonality - replicates quality of light (softness) * light radiates from Christ

Answer 58

* Hyacinthe Riguad, *Louis XIV*, Northern Baroque, Oil on canvas * France - absolute monarchy * power and authority portrayed through clothing (trappings of wealth) - furs, felted, fleur de lis (covered in national emblem) * looks down at viewer - elevated above us * jaunty pose similar to van Dyck’s Charles I Dismounted

Answer 59

growing concern with natural world, humanity's worldy existence, the individual

Answer 60

* Jean-Honoré Fragonard, *The Swing*, Rococo, Oil on canvas * Pastels * Frivolity, silliness * Soft light * lush garden setting

Answer 61

* Germain Boffrand, Salon de la Princesse, Hôtel de Soubise, Rococo, Paris * decorative form concentrated on interior * gilded panels - thin, plant -like; organic shapes * soft, curved lines - scalloped * femininity of lines, lightness * disguising of edges

Answer 62

* Antoine Watteau, *L’Indifférent*, Rococo. Oil on canvas * feminine figure - light on his feet, dainty * presented as on display - calls attention to himself, his clothing, etc. * soft, blended edges - loose brushstrokes * pastel colors

Answer 63

* from French “rocaille” (pebble) → refers to small stones and shells used in decoration * aristocratic fashion that arises in France - reflects social life of nobility - aristocratic patronage * feminine, light style * pastel colors * frivolity

Answer 64

* Joseph Wright of Derby, *Philosopher Giving a Lecture at the Orrery*, Enlightenment, Oil on canvas * orrery - mechanical model of solar system demonstrating how planets revolve around the sun * dramatic sense of lighting, illusionistic manner similar to Baroque style * subject comes from Enlightenment * students, women, children, scholarly people, books * light comes from the orrery - light of sun; light of wisdom and knowledge * scientific instead of religious drama - drama of learning

Answer 65

* Jean-Baptiste-Simeon Chardin, Saying Grace, Enlightenment, Oil on canvas * woman and children * humble, simple home * earthy, muted tones * natural philosophy - Jean-Jacques Rousseau * civilization corrupted natural man (arts, sciences, society - anything manmade) * return to “ignorance, innocence and happiness” of nature * promote simple life, family values, innocence of women and children * reaction to Rococo frivolity

Answer 66

* reaction to lifestyle of European aristocrats - frivolity * system of thought about the world and humankind independent of religion, myth or tradition * emphasized empirical evidence * promoted scientific questions of all assertions * rejected superstition, unfounded beliefs

Answer 67

* emphasis on tangible data and concrete experience * doctrine of empiricism - knowledge comes to people through sense perception of material world * belief in application of reason and common sense to human problems * avoidance of supernatural * human beings born good, society corrupts * progress * perfectibility of humankind * Law of Nature grant human beings natural rights of life, liverty, property, freedom of consciousness, revolution * government is by contrast - protect natural rights

Answer 68

* renewed admiration for classical antiquity * excavations of Herculaneum and Pompeii

Answer 69

educational pilgrimage of wealthy classes to major sites in Europe, particularly Italy

Answer 70

* Artistic movement incorporating subjects and styles of ancient art * geometric harmony embodied enlightenment ideals and emphasis on rationality * classical cultures represented to 18th-century Europeans the height of civilized society --\> traditions of liberty, civic virtue, morality, sacrifice

Answer 71

* Jacques-Louis David, Oath of the Horatii, Neoclassicism, Oil on canvas * looking back to story from classical antiquity * setting is replication of Roman architecture * arches divide brothers, father, women * contrast between men and women - strength, action vs. softness, sadness, emotion * use of linear perspective - direct attention and focus

Answer 72

* Jacques-Louis David, Death of Marat, Neoclassicism, Oil on canvas * reaction to French Revolution (aftermath) * only lower half of canvas is filled - upper half is empty space * elegantly posed * sense of martyrdom; connects contemporary subject to historical figures * pathos of late Greek art

Answer 73

* Thomas Jefferson, Rotunda and Lawn, University of Virginia, Neoclassicism, Charlottesville, Virginia * elements of ancient architecture - columns, pediment (temple-like facade) * modeled on the Pantheon * circular building, dome

Answer 74

* Horatio Greenough, George Washington, Neoclassicism, Marble * commemorative work of Washington * references to Zeus - posing of his arms and legs, upper body exposed * classical style body, musculature

Answer 75

* Baroque * Wordly items among reminders of death

Midterm Flashcards

(99 cards)