Art 1441 Exam 1

Front 1

Italy in the 15th century comprised over a dozen independent
political units, including the ____________

Back 1

Republic of Florence

Front 2

Guilds =

Back 2

associations organized by occupation, having important
economic, social, political, and religious functions

Front 3

San Michele:

Back 3

sanctuary of the Florentine guilds

Front 4

Back 4

Nanni di Banco’s Quattro Coronati- Four “Crowned” Saints

can be compared to Saints at Chartres Cathedral (medieval time)
much more realistic
very much like roman art

Front 5

________ belonging to the guild of craftsmen who
worked in stone or wood

Back 5

Niche at Or San Michele

Front 6

________ belonging to the guild of craftsmen who
worked in stone or wood

Back 6

Niche at Or San Michele

Front 7

Back 7

Donatello, St. Mark
(also at Or San Michele)
Known only by his last name
Sad been standing there since the sixteen hundreds and were recently replaced because of erosion
Free standing sculpture
Very similiar to ancient greek although alot free-er
stands on a cusion

Front 8

Back 8

Donatello, David
no one knows when it was made
could be compared to Doryphorus

Front 9

__________
original location of Donatello’s David
(presumably commissioned by Cosimo
de’ Medici, unofficial ruler of the city)

Back 9

Courtyard of Medici Palace in Florence:

Front 10

compared to?

Back 10

Donatello, Feast of Herod

Siena Baptismal Font
(location of Donatello’s
there is a continuous narrative
Feast of Herod)
Shows good perspective
relief
can be compared to
Andrea Pisano, Baptism of
Christ (1330-36)

Front 11

parallel lines
that are perpendicular to the
“picture plane” and recede
to a single “vanishing point”
on the horizon.

Back 11

orthogonals:

Front 12

Back 12

Ghiberti, Gates of Paradise
Gates of Paradise (Florentine Baptistery), 1425-52 (15.22), including The Story of
Jacob and Esau, ca. 1435 (15.23), and Self-Portrait (barely visible in 15.22)

Front 13

post and lintel

Back 13

Vertical elements are posts
• Horizontal elements are lintels (or beams)

Front 14

Highly developed form of the post and lintel system, which has
evolved into the “Classical Order”:

Back 14

posts have become columns
• lintels have become entablatures

Front 15

Diagrams of the Classical Orders:

Back 15

Doric, Ionic, and Corinthian

Front 16

Arches are composed

Back 16

of wedge-shaped blocks called “voussoirs.”

Front 17

Back 17

Filippo Brunelleschi: Church of San Lorenzo (Florence), begun 1421 (15.7, 15.8)
Brunelleschi,
Church of San Lorenzo, Florence

(Note: largely financed by Cosimo
de’ Medici)
Note Brunelleschi’s use of unfluted, monolithic shafts,
emulating such Roman buildings as the Pantheon)
Interior of San Lorenzo:
nave flanked by aisles
unfluted columns in the nave
but fluted pilasters in the aisles

Front 18

________ diagram showing the
structure of a building at ground level.

Back 18

A groundplan is a

Front 19

________ diagram showing the
structure of a building at ground level.

Back 19

A groundplan is a

Front 20

Back 20

Groundplan of San Lorenzo

Front 21

is a method of cutting and laying
blocks of stone separated from each other by deep
joints; blocks are usually rough in texture, as seen here.

Back 21

Rustication

Front 22

Back 22

Michelozzo, Palazzo Medici
(built for Cosimo de’ Medici)
Cornice can be compared to ancient greek
Michelozzo: Palazzo Medici-Riccardi (Medici Palace) (Florence), begun 1444 (15.33)

Front 23

Back 23

Alberti, Palazzo Rucellai
(built for Giovanni Rucellai
Alberti 2nd most important in early renn
Wrote first imp art book
Taught 1 point perspective in his book
Abandon roughness and more classical but kept over all composition

pilasters
between the arches
arches are different sizes
Three interlocking rings are symbols of Medici
Unfinished building
Leon Battista Alberti: Palazzo Rucellai (Rucellai Palace) (Florence), 1446-51 (15.32)

Front 24

Back 24

Masaccio’s Trinity
The holiness or sanctity of
the figures is denoted by a halo,
usually a gold disk.

has Mary and St. John the
Evangelist in it
haloes foreshortened

patrons of the painting probably members of
the Lenzi family)

Everything is life size
Bottom represents a sarcophagus holding a skeleton (first known in history of art)
Skeleton was supposed to remind that you are going to die but if you believe ect. Ect.
“I used to be what you are, and
what I am, you too will be.”
good example of vanishing point

Front 25

The study of those aspects
of a work of art that pertain
exclusively to its subject,
and the ways in which that
subject is represented.

Back 25

Iconography:

Front 26

Iconography of the Trinity:

Back 26

• God the Father: elderly bearded man
with blue cloak over reddish shirt.
• The Son (Jesus Christ): shown
semi-nude and crucified on a cross.
• The Holy Spirit (Holy Ghost):
appears in the form of a dove.

Front 27

Back 27

The Brancacci Chapel, Florence
(financed by Felice Brancacci)
He was probably influences by classical statues

Front 28

__________ an Italian word
meaning “light-dark.” It refers to contrasts
of light and shadow in paintings, especially
as used to suggest 3-dimensional form.

Back 28

chiaroscuro,

Front 29

__________ an Italian word
meaning “light-dark.” It refers to contrasts
of light and shadow in paintings, especially
as used to suggest 3-dimensional form.

Back 29

chiaroscuro,

Front 30

Back 30

The Tribute Money

showing horizon
line, orthogonals, and vanishing point.
Masaccio:
The Tribute Money (Brancacci Chapel, Florence), ca. 1425 (15.15 & 15.17)

Front 31

________ is also suggested by the use of “aerial” or “atmospheric” perspective,
which shows how vision is affected by
distance. Things that are further away
appear both paler and hazier because
of the greater amount of air or atmosphere through which we view them.

Back 31

Space

Front 32

Back 32

Perugino, Delivery of the Keys

Pietro Perugino: The Delivery of the Keys (Sistine Chapel, Vatican Palace, Rome), 1482 (15.59)
Fresco in the Sistine Chapel (Rome): named after Pope Sixtus IV,
who built the chapel and commissioned the frescoes.
Detail: Christ giving
the keys to St. Peter

Detail: Perugino’s
self-portrait
Detail:
triumphal
arch
could be modeled off of the arch of constantine

Front 33

Back 33

Botticelli, Birth of Venus
Probably commissioned by Lorenzo de’ Medici, nicknamed “the
Magnificent.” Lorenzo was the grandson of Cosimo de’ Medici
and the unofficial ruler of Florence in the late 15th century.
Sandro Botticelli: The Birth of Venus, ca. 1485 (15.42)

Front 34

Netherlands =

Back 34

“low lands” or Low Countries:
Holland = Northern Netherlands Belgium = Southern Netherlands

Front 35

Flanders:

Back 35

most important province of the Southern Netherlands

Front 36

Flemish:

Back 36

adjective pertaining to Flanders

Front 37

Principal Flemish cities and artists associated with them:

Back 37

Tournai: Campin
Bruges and Ghent: Van Eyck
Brussels: Van der Weyden

Front 38

Ars nova:

Back 38

Latin for “New art” —a term sometimes used for early Flemish painting

Front 39

triptych:

Back 39

a work of art, usually an altarpiece, composed of three separate sections (The prefix tri means “three”; the second part of the word derives from the Greek ptyche, meaning “fold.”)

Front 40

Back 40

Robert Campin: Mérode Triptych/Altarpiece, featuring The Annunciation, ca. 1425-30 (14.9)
Campin, Mérode Altarpiece
Triptych with three panels
• central panel: Annunciation
• left panel or “wing”: Donor Portraits
• right panel or “wing”: St. Joseph
Donors in Mérode Altarpiece compared with donors in Masaccio’s Trinity

Front 41

date?

Back 41

Van Eyck, Arnolfini Portrait
Detail: chandelier with a
single burning candle
Detail: Mrs. Arnolfini
Detail of dog: a griffon terrier
(symbol of marital fidelity?)

Detail of Arnolfini’s wooden
shoes (“pattens”)

Convex mirror and Van Eyck’s signature (in Latin):
Johannes de Eyck fuit hic (“Jan van Eyck was here”),
followed by the date 1434

Front 42

Back 42

Leonardo da Vinci,
Last Supper

Painted on the wall of a
refectory (dining hall)
of a convent in Milan

Christ gesturing toward a piece of
bread and reaching for a glass of
wine (“This is my body. . . .
this is my blood”; Matthew 26)

Front 43

Back 43

Andrea del Castagno, Last Supper (c. 1450)

Front 44

Frescoes by Raphael
representing the four
principal fields of
Renaissance learning:

Back 44

• Philosophy
• Theology
• Poetry (or Literature)
• Law

Front 45

Stanza della Segnatura

Back 45

Stanza della Segnatura (“Room of the Signature”) in the Vatican Palace, Rome.
Originally the study of Pope Julius II: nephew of Pope Sixtus IV and patron of
Raphael, Michelangelo, and Bramante.

Front 46

Back 46

Stanza della Segnatura (“Room of the Signature”) in the Vatican Palace, Rome.
Originally the study of Pope Julius II: nephew of Pope Sixtus IV and patron of
Raphael, Michelangelo, and Bramante.

Front 47

Back 47

The School of Athens (“Philosophy”)

Note: Plato holds a copy of his treatise
Timaeus (labeled TIMEO); Aristotle holds
a copy of his Ethics (labeled ETICA).

Plato and Aristotle: the two
most important ancient
Greek philosophers
Detail: Pythagoras and others,
including Pope Julius’s nephew, Francesco Maria della Rovere
Detail: “spherical” group of figures, including Bramante—the great High
Renaissance architect—in the guise of the philosopher-mathematician Euclid.
hidden self portrait of Raphael

Front 48

Back 48

Titian, Pesaro Altarpiece

Detail: members of the Pesaro family.
Note also the wounds (“stigmata”) of
St. Francis.
Detail: the youngest member
of the Pesaro family

Front 49

Back 49

Perugino, Delivery of the Keys
Underlying theme is the ides that the authority was given to popes (delivery of the keys)
Raphael was a pupil of Perugino
Imaginary buildings (temple of Jerusalem)
Idea of perfection

Front 50

Back 50

Raphael, Marriage of
the Virgin

Front 51

Back 51

Bramante, The Tempietto

First building resembling painting
Circular building
Tempietto-little temple
Set where saint peter met his death (not true)
Right beside spanish academy
Classical
Smooth shafts
Doric capitals
Spacing and proportions are very important
Belongs to the Doric order
Note the Doric frieze with triglyphs and metopes

Front 52

Back 52

The Tempietto and
its intended courtyard

Front 53

Back 53

Bronze medal of St. Peter’s
designed by Caradosso

Front 54

Name?

Back 54

Bramante, Palazzo Caprini (“House of Raphael”)

Note smooth-shafted Doric
columns surmounted by a frieze
with triglyphs and metopes

Front 55

time line

Back 55

early ren 1400
high ren 1500
late ren 1520-1600

Front 56

Late Renaissance comprises:

Back 56

(a) Continuation of High Renaissance
(b) Mannerism
(c) Other Trends

Front 57

maniera

Back 57

“manner” (in the sense of “style”)

Front 58

artificioso

Back 58

“artificial” (in the sense of “contrived” or “artful”)

Front 59

Back 59

Michelangelo, “late” ignudi on the Sistine Ceiling

Front 60

Back 60

Parmigianino, Madonna with Long Neck
Parmi came from a place called parma
She is posing
The hair is unatural
Virgin is sexy

Dude to the right was probably Isaiah
Why so small?? Its very irrational its should be far away but its not

Virgin seems so worldly
A cross on the urn
The patron of this painting was a female (ellena)
Looks as if mary looked at the urn and then looked at Jesus
The size of the child may suggest the Jesus will one day be an adult he is in a position of maybe the crucifixion??
Comparison to the child of christ to the adult christ
Kind of foreshadowing
Note: References to the dead, adult
Christ are said to be “proleptic”—that
is, they anticipate something that will
occur in the future.

Front 61

Back 61

Bronzino, Allegory with
Venus and Cupid

Allegory was made for the Medici family and then givin to the king of france
Allegory symbolic of something
Cupid is seen as adolecent

Front 62

Back 62

Cellini, Saltcellar of Francis I

Cellini traveled to france and resided there for a while
It was made for francis the I
Sculpture is the only one we have today of Cellini
It is a salt shaker
The same Ideal body used in this sculpture as the one in Parmigianos Madonna
Male figure is Neptune, god of the Sea, who “presides” over the salt
Female figure is a goddess of Earth, who “presides” over the pepper
Four reclining figures and four half figures could represents with the four winds

Front 63

Back 63

Giambologna,
Venus
Note: exemplifies the figura serpentinata (“serpentine figure”)

Front 64

Back 64

Giovanni Bologna:
Giambologna, The Rape of the Sabine Woman
Large
Rape in the day was just to mean an abduction not todays rape
Myth about the founding of the city of rome by soldiers that had no women so the stole them

Front 65

Back 65

Michelangelo, David

Believed that art and philosophy belong together
He was taken in by Lorenzo de Medici
His time was during the rise of rome and fall of florence
Michels david was the 1st collosal statue
Was a balance between real and ideal
Was at entrance of Palozzo Vecchio
Carved out of single rock

Front 66

Back 66

Michelangelo, David

Believed that art and philosophy belong together
He was taken in by Lorenzo de Medici
His time was during the rise of rome and fall of florence

Front 67

Back 67

Grünewald,
Isenheim Altarpiece

Originally the altarpiece of a
monastery dedicated to St.
Anthony at Isenheim, which
included a hospital.

Sts. Anthony and Sebastian,
celebrated for their healing
powers, appear in the wings
alot more realistic and crude than other artists

Front 68

when?

Back 68

Dürer, Adam and Eve
Durer probably most famous german artist
Kinda a german renaissance man
The animals are there for the intellectuals
Each anilmal symbolizes the four different types of people
Detail of plaque with signature
in Latin (“Albrecht Dürer of
Nuremberg made this, 1504”)

Front 69

Back 69

Dürer, The Four Apostles
(John, Peter, Mark, Paul)
can be compared to Nanni di Banco’s Quattro Coronati
Detail of text below
St. Paul, from Martin
Luther’s translation
of the Bible

Front 70

Back 70

Jan Gossaert, Danaë
Note: Gossaert is also nicknamed “Mabuse” after his hometown in the southern
Netherlands. He signed this painting across the bottom in a Latin inscription that reads,
IOANNES MALBODIVS PINGEBAT 1527 (“Jan of Mabuse Painted [this in] 1527”).
achitecture is important

Front 71

Back 71

Bruegel, Return of the Hunters
(“Winter Landscape”)
no classical stye of drapery