Renaissance Midterm Flashcards
(56 cards)
1
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Orcagna, Tabernacle, 1355, Or San Michele
2
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Daddi, Madonna and Child, 1346, Or San Michele
3
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Cimabue, Enthroned Madonna and Child, 1285
- Looked at Passion play sets and imagery
- Passion plays- a reenactment of the biblical stories
- Use of gold in order to show depth within the fabric
4
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Giotto, Ognissanti Madonna, 1305-10
5
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Arnolfo di Cambio, Palazzo Vecchio, 1299-1310
- Republic building
- Rusticated look to it- exterior not smooth
- Built on the site of the homes of the Umberti family- the family took the side of Siena
6
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Palazzo Pubblico, Siena, 1298
- Republic building
- Taller than the one in Florence
7
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Siena Cathedral, 1284-99, facade by Giovanni Pisano
- Italian gothic style- less stained glass, altarpieces, and walls covered in frescos
- Features some classical elements
8
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Arnolfo di Cambio, Florence Cathedral, 1299
9
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Giotto, Betrayal of Judas, Arena Chapel, 1305
- The Scrovegni family commissioned this and they were a family of bankers and lent money with interest which is against the bible- the Medici family did the same thing, but they gave back to the church and therefore the Scrovegni family did the same
10
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Giotto, Last Judgment, Arena Chapel., 1305
- The Scrovegni family commissioned this and they were a family of bankers and lent money with interest which is against the bible- the Medici family did the same thing, but they gave back to the church and therefore the Scrovegni family did the same
- Features the last judgment on the wall of the exiting door
11
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Duccio, Maesta, 1308-11
- Fradella- scenes along the bottom of the altarpiece painting
- Keeps the Byzantine tradition alive with the use of gold
- Christ is starting to look more like a child
- Apostles along the top
- Most artists were apart of a gild and a studio, worked with many assistants
- Christ is being tempted by the devil
- Medieval in conception
- City looks like Jerusalem but in the end its Siena
- Takes a biblical story and makes it familiar with the architecture
- Siena people are very interested in landscape while Florence people are more interested in figure
- Rocks in the background is another Byzantine trait
12
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Ambrogio Lorenzetti, Allegory of Good Government in the City and Country, 1338, Palazzo Pubblico, Siena
- Allegory of Good Government in the City
- Everyone is happy and busy, doing his or her things
- Ladies dancing, people working, man giving lecture
- Edge of the city wall has a wolf; wolf tells the story of the origins of Rome
- Every city wanted to create a background; Siena is the city of the son of Remus; Sinnius and Askus ??
- Flying figure is holding an inscription saying, this is Siena and may it profit, however if you come to Siena with bad intentions this is what will happen, she is also holding a gallows which was used to hang people
- Allegory of Bad Government in the City
- Tyranny, injustice
- Justice is all tied up at the bottom being gagged
- Baby being tortured by snake
13
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Giotto, Bardi Chapel, Renunciation of Worldly Goods, 1325, Santa Croce, Florence
- A blanket is covering St. Francis
- St. Francis’ father is in orange
- St. Francis gave away his goods
- Faith vs. secular worlds
14
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Andrea Orcagna, Strozzi Altarpiece, 1354, Santa Maria Novella
- Scholars think it’s so dark because it was after the Black Death
- St. Peter with the keys
- Saints held their attributes
- St. Lawrence holding a grill, he was roasted alive
15
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Brunelleschi, Dome of Florence Cathedral and Plan, 1420-36
- Scaffolding helped him get to the top
- Herringbone pattern to hold is better
- Used ribs in order to hold it
- Influenced by the Pantheon
- Lantern at the top is anchoring the ribs and designed by Brunelleschi
16
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Brunelleschi, Foundling Hospital, 1420-44, Florence
- Foundling is a term for orphans
- Columns have not been present for a long time because Gothic architecture doesn’t use it
- Between the columns, the width is 2x the height
- Silk guild helped commission it
- Roundels between the columns painted blue and white, made of terracotta—help reinforce charity for orphans inside building
17
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Donatello, St. Mark, Or San Michele, 1411
- Linen guild
- Controposto- classical world
- Falling like a Roman toga
18
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Ghiberti, St. John, Or San Michele, 1412
- Wool guild
- Bronze is more expensive
- Movement of the fabric comes from gothic style
19
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Masaccio, Adam and Eve, Brancacci Chapel, Santa Maria del Carmine, 1424
- Fresco- rough layer, then draw a design, then apply thin layer of plaster, then apply color while plaster is wet
- Giornate- a days work, artist would paint one figure or so a day
- More naturalistic
20
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Masaccio, The Tribute Money, Brancacci Chapel, Santa Maria del Carmine, 1424
- Tax collectors come, Christ sends Peter to the river to find coins in a fishes mouth
- Three scenes in one image
- Atmospheric perspective- landscape
- Linear perspective- buildings
21
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Masolino, St. Peter Healing a Cripple and the Raising of Tabitha, Brancacci Chapel, Santa Maria del Carmine, 1420s
- Two wealthy contemporary people walking in the center
22
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Masaccio, The Trinity, Santa Maria Novella, Florence, 1425
- The father, the son, and the holy spirit (the dove)
- Two donors at the bottom corners
- On the right of Christ, is the man and on the left of Christ, is the woman
- Fresco painting but made to look like the architecture is real
- Classical Rome coffer ceiling
- The skeleton on the bottom is poetically saying that the people will become skeletons and the importance of the soul
- Father looks out to the audience
23
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Gentile da Fabriano, The Adoration of the Magi, 1423
- The Magi were the Three Kings
- Deals with more objects, the fabric, the horses, the background
- Florence was known for its silk
24
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Ghiberti, Jacob and Esau Panel, Doors of Paradise, Florence Baptistry, 1425-52
- Takes up the entire panel as opposed to a quatrefoil
- New Testament scenes
25
Fra Angelico, The Annunciation (from a monk’s cell), Monastery of San Marco, 1438-44
- Echoing architecture in the painting as in the room itself
- Looks like a window within the building
26
Fra Angelico, The Annunciation (from the staircase), Monastery of San Marco, 1438-44
- Was on the wall in the hall where the monks go to sleep
- Echoing Brunelleschi’s architecture
- Gabriel is in a bright pink robe while Mary is a dark blue robe
- Fence is to the left of the painting in the garden, represents her chastity and virginity
27
Fra Angelico, The San Marco altarpiece, 1438
- The Altarpiece
- Saint to the left is Cossimus and to the right is Damien
- Recalling classicism with the triumphal arch
- The Garden is behind the scene with a wall or drapery separating the two scenes
- The Turkish carpet in the front of the scene use orthoginals to guide the eye to the Madonna and showing off his talents and education of painting
- Crucifixion at the bottom reminds viewer of the eucorist
28
Benozzo Gozzoli, The Procession of the Magi, Medici chapel, 1459
- Magi- the three kings
- Piero de Medici on the horse
- Self-portrait of Gozzoli
29
Fra Filippo Lippi, Madonna Adoring Christ, Medici chapel, 1450s
- Wife of Medici was the patron of this painting
- Christ is in nature laying on the group (request of the patron)
- John the Baptist as a child to the left
- Medici collected many Northern paintings, use of oil, much detail
30
Jan van Eyck, Arnolfini Portrait, 1434
31
Jan van Eyck, Madonna with Chancellor Rolin, 1435
32
Uccello, Sir John Hawkwood, Florence Cathedral, 1436
- Was a master of perspective
- Was supposed to make a marble statue, but being that there was little money, the artist made a fresco
- The perspective does not match; we see John Hawkwood straight on, but we still the base from below
- Cantoria- where you have the singers of the church (was the inspiration for the base of the fresco)
33
Fra Filippo Lippi, Madonna and Child, 1455
- Artist was a monk and then resigned because he was having a child with a nun (also the model for this painting)
- Puts the model in front of the window, creating perspective
- Becomes one of the teachers for Botticelli
34
Uccello, Battle of San Romano, 1438
- Eventually acquired by the Medici
- Florence vs. Siena
- Man on the white horse with the fancy hat is he leader of the Florence military
- Foreshortening—everything is very neat in this battle scene; lots of orthogonals
- Atmospheric perspective
35
Domenico Veneziano, St. Lucy altarpiece and predella, 1445
- St. Lucy is holding a plate; she had beautiful eyes, and to not distract her tutor she pulled her eyes out and gave them to her tutor
- John the Baptist- dirty looking, wearing a hair shirt which was punishment, he was a hermit,
- Patron saint of Florence (Along with John the Baptist) on the right
Veneziano, St. John in the Desert, predella of the St. Lucy Altarpiece, 1445, tempera
- Was under the St. Lucy Altarpiece
- We usually don’t see St. John naked
36
Andrea del Castagno, The Last Supper, St. Apollonia, Florence, 1450
- For the nuns of the St. Apollonia
- Where the nuns would eat
- Use of faux marble on the fresco
- In the corners of the last supper are griffins (from antiquity)
- Use of perspective (not perfect)
- Judas on the viewers side of the table
- The marble panel behind Jesus and Judas is much more vibrant
37
Andrea del Castagno, Famous Men and Women, Villa Carducci, Legnaia, 1448
- Foot over the edge allows the fresco to be apart of the room
- The pose of the men are taken from classical Greece
- Writers, Politian’s, etc. are the famous people around the walls
38
Domenico Ghirlandaio, Confirmation of the Rule of St. Francis, Sassetti Chapel, Santa Trinita, Florence, 1483
- Scene of Florence in that back
39
Domenico Ghirlandaio, Adoration of the Shepherds, altarpiece from the Sassetti Chapel, Santa Trinita, Florence, 1483
- Ancient Roman arch and columns
- Shepherds were very average looking
40
Hugo van der Goes, Portinari Altarpiece, 1470s
41
Domenico Ghirlandaio, Birth of the Virgin, Tornabuoni Chapel, Santa Maria Novella, 1485
- Was one of Michelangelo’s first teachers
- Birth of Mary
42
Domenico Ghirlandaio, Portrait of Giovanna Tornabuoni, 1488
- Died while at childbirth
- Women portraits were very popular during marriage and childbirth
- Difference between male and female portraits was females were shown at profile while men were shown more toward the viewer; the aggressive one on the world; women’s hands together looking sacred and not looking at the viewer
- Stance is upright; morally upright
- Coral beads behind her, protective stone
- Objects that the woman has a gift from the husband
- Some of the clothing comes from the husband’s family
- Sumptuary laws- could not dress in all the finest jewels all at once
43
Fra Filippo Lippi, Portrait of a Man and Woman at a Casement, 1440
- Woman dominating the frame of the painting
- The artist is displaying the woman
- Sella- headpiece
- Piety, humility, chastity (purity) is how the woman portrait should be depicted
- Straight back- morally upright
- The hair tied back; once she was married it was tied
44
Domenico Ghirlandaio, Portrait of an Old Man and his Grandson, 1490
- Males get more realism because it’s more “important”; male is not valued for his beauty
- Ladies were presented as untouchable and clean
- Landscape in the background
45
Leon Battista Alberti, Self-Portrait, bronze plaque, 1435
- Invented perspective in painting
- Trying to show that artists are important individuals; the status of the artist
- Resembles currency from antiquity
- In front of his neck is a winged eye as his personal emblem
- Winged eye- Sees beyond what average person sees, seeing far ahead intellectually of others
46
Matteo de Pasti, Medal of Alberti, 1446
- Rather than accepting knowledge from the ancient world, be open to new knowledge
- More contemporary portrait, probably what he looked like
47
Donatello, Bust of a Youth, 1420s-40s
- Probably looking at Greek and Roman sculpture and a person (nature), ideas of naturalism
- Quoting classical antiquity with the chariot
- Two wild horses represent Eros, the winged Cupid, the beauty of youth
- Calm horses, the calm soul
48
Donatello, David, 1446-60
- He is nude not naked
- Erotic tone to the statue
- Platonic overtone- homosexual behavior was more normal in the Greek world, less normal in the Roman world
- David- symbol for a smaller republic succeeding over larger states
- Feather from the helmet, is near David’s butt- eroticism
- First full size standing nude since antiquity
49
Bernardo Rossellino, Tomb of Leonardo Bruni, Santa Croce, Florence, 1444
- Was the chancellor of Florence
- Wrote the history of Florence
- Being held up by eagles- dignified the Roman Empire
- Incorporating Pagan and Christian motifs
- Lion on top- symbol of Florence
- Leonardo; Leo, Lion
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50
Donatello, Judith and Holofernes, 1450s
- She is fully clothed
- She was trying to save her people, the Israelites, and kills Holofernes, the Syrian general
- The female heroin is completely clothed; she went with purity and chastity in order to save her people
- Looks more intimidating than the David; she got the man drunk in order to kill him
51
Michelozzo, Palazzo Medici, 1444-60
- Represents the city and the family
- Preserving ancient Greece and Rome
- Brunelleschi was very fancy and the Medici wanted to have something subtler
- Bottom of the building is rough- meant to be imposing
- Got more refined as you move up the building
- Palace of the Medici
52
Alberti, Rucellai Palace, 1446-51
- Inspired by the Colosseum
- Pilasters rather than columns because they are flat
- Square windows along the bottom for defense
53
Alberti, Santa Maria Novella facade, 1458
- Pediment at the top unified with the existing bottom of the church
- The scrolls along the side unify the top and the bottom
- Sun disk at the top, under the pediment, Christ as Apollo, Christ as the sun god
- Gothic looking interior
54
Alberti, Sant’Andrea, Mantua, 1470
- Triumphal Arch with a Greek pediment
- Pilasters on the exterior
- Coffered ceiling with a barrel vault
- Looking at ancient Roman Basilicas
55
Donatello, Gattamelatta, Padua, 1443
- Condottieri - mercenary
- In front of a church
- Medusa on his armor
56
Verrocchio, Equestrian Statue of Colleoni, Venice, 1481-96
- Colleoni looks much more intimidating
- Horse is only on three legs
- Detail in the horse
- Much more dynamic statue
- Colleoni- ballsiness
