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147 Cards in this Set
- Front
- Back
Reims Cathedral, France, 1211-1275D JeanD’Orbais |
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Florence Cathedral (Duomo), Italy,1296-1436 Dome design by Neri Di FioravanteFinished design of dome by FilippoBrunelleschi |
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ReimsCathedral interior, France, 1211-1275 |
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Frescosstarted by Giorgio Vasari, Italy, 1296-1436 |
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Giorgo Vasari |
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LimburgBrothers, New Years1412-1416 |
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Facundus, The Fifth Trumpet |
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Donatello, David,1430-1440 |
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Madonna with Child 1175-1200P |
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Cimabue,Madonna di Castelfiorentino, 1280s |
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Cimabue,St. Francis of Assizi,1280-1290 |
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Giotto,Lamentation, |
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Scrovegni Chapel, Padua, 1305 |
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Massachio, Trinity, SantaMaria Novella, Florence, 1425 |
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JanVan Eyck,The Arnolfini Portrait 1434 |
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Baptisteryof San Giovanni, 1059-1128FlorenceCathedral (Duomo) |
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Brunelleschi,Sacrifice of Isaac, 1402 |
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LorenzoGhiberti, Sacrifice of Isaac, 1401-1402 |
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Baptisteryof San Giovanni, 1059-1128, Florence |
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LorenzoGhiberti, Gates of Paradise, East Baptistery Door, 1425-52 |
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Top: Orsanmichelle, 1337-1404, Florence |
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Right:Donatello, St.George, 1417-1420. |
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Left:Nannidi Banci,The Four Crowned Martyrs, 1409-1417I] |
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Nanni di Banco, predella of The Four Crowned Martyrs, 1409-1417 |
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Donatello,predellaof St. George, 1417-1420 |
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Massachio, Trinity, SantaMaria Novella, Florence, 1425 Trompe l’oeil: Illusion tricking the eyeintoseeing a flat surface as three-dimensional |
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LeonBattista Alberti,1404-1472 |
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Hugovan Der Goes, Adoration of the Shepherds(Portinari Triptych) |
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DomenicoGhirlandaio, Nativityand the Adoration of the Shepherds, 1485 |
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SandroBotticelli, TheBirth of Venus, 1484-14869m=zpjDUE |
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SandroBotticelli, Primavera,1484 |
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LeonardoDa Vinci, The Virgin of the Rocks, 1485, “Sfumato”:or “smoky” describing technique of soft,shadowy transitions.“Chiaroscuro”: describing powerful contrasts betweenlight and darknessPyramidal Composition: dynamic triangular arrangement toencouragethe movement of the eye. |
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LeonardoDa Vinci, The Last Supper, 1495-1498, Refectory of the Monastery ofSanta Maria delle Grazie, Milan |
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Perugino,The Marriage of the Virgin, 1500-1504 |
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Raphael,The Marriage of the Virgin, 1504 |
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Raphael,The Small Cowper Madonna, 1505 |
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Raphael,Madonnaof the Meadows, 1505 |
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Raphael,Sistine Madonna, 1512Piacenzo,Italy |
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Raphael,The School of Athens, 1510-1511, Apostolic Palace, Vatican |
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XiaGui,Twelve Views of Landscape, 1230Song Dynasty (Southern Song style) (960-1279) Songwere pushed into southern Chinaby Jindynasty,Jin fell to the Mongols and after1276,so did the Song total rejection of color and empty space |
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ZhangZeduan,Along the River During the QingmingFestival, 1085-1145TopLeft reproduction with your own touch, common life |
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Zhao Mengfu,Autumn Colors on the Qiao and Hua Mountains, 1296, YuanDynasty, inthe style of Tang Dynasty (618-907 TangDynasty (618-907) was viewed as a “golden age” return to past, color and detail stamps meant ownership |
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NiZan,The Rongxi Studio, 1372 |
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“Literati”: |
Classof Chinese scholar-poet-bureaucrats. •Passed through elaborate literary andphilosophical educations to qualify for civil service. •Made art for each other rather than forpatrons or audiences•Held Confucian and Daoist ideals•Many went into exile (sometimesself-imposed) under the Yuan |
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Colophons and Seals: |
•Colophons (in black) provided contextualinformation, poetry, other notes from the artist•Seals (in red) displayed record ofownership |
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DongQichang,Wanluan Thatched Hall, 1597 |
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Northernschool |
wastraditional and conservative,dominated by professional painters,emphasizing color, decorativeelements, technical skill |
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Southernschool |
wasradical and innovative, building onSouthernSong traditions, dominated by literati, emphasizing use ofblack ink,free,expressive brushstroke, calligraphy, emotional impact |
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“NorthernStyle” YinHong, Hundreds of Birds Admiring the Peacocks, late 15th-early16th, Ming Dynasty |
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DaiJin,Returning Home LateFrom a Spring OutingMingDynasty |
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Qiu Ying, Spring Dawn in the Han Palace, 1500-1550, Ming Dynasty: Showing Mao Yanshou northern style shows how artist is in danger and powerful |
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Scholars’ Rock,QingDynasty, 1644-1912 eroding limestone for years |
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Qiu Ying (1494-1552), AppreciatingAntiquities in the Bamboo GardenMingDynasty civilization in nature, social control |
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Gardens of Suzhou, 11th-19th centuries7517 |
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Forbidden City, 1406-1420, startedduring Ming war against Yuan |
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MingDynasty (1368-1644)Forbidden City |
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ShenZhou, Poet on a Mountaintop,c. 1500,Ming Dynasty |
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Michelangelo,Sistine Chapel: Last Judgement, 1536-1541 |
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The Fall of the Giants- Giulio Romano "The Fall of the Giants" 1530-32, Falazzo del Te |
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Assumption of the Virgin, 1526-1530, Correggio |
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Charbagh |
Four gardens or paradise gardens (intended to simulate gardens of Eden) |
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Arabesque |
Complexdesign of, flowingfoliage and/orintertwined lines urNk |
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Michelangelo,Madonna of the Stairs, 1491 |
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Michelangelo,Bacchus, 1496-97 |
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Michelangelo,Pietà, St. Peter’s Basilica, Rome. 1496-9756 |
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Michelangelo,David, 1501-1504, PalazzoVecchio(begun by Agostino di Duccio~1464 for Duomo roof0C |
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Donatello,David, 1408-1409 |
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Donatello,Judith and Holofernes,1457-1464 |
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Baccio Bandinelli, Hercules and Cacus, 1525-1534 |
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1494-1512 |
Mediciexpelled from Florence as Savonarolla preaches against them. |
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Michelangelo,The Creation of Adam,SistineChapel, 1508-1512\\re |
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Michelangelo, Tomb of Giuliano di Medici, 1526-31 |
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Michelangelo,Sibyl,SistineChapel, 1508-1512 |
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Michelangelo,Night, Tombof Giuliano di Medici 1526-31 |
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Raphael,St. Catherine of Alexandria, 1507 |
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Michelangelo, Tombof Lorenzo di Medici 1526-31Fh |
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Michelangelo, LaurentianLibrary1523-25.ForPope Clement VII1523-1534 |
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Bramante,Tempietto, 1502-1510 |
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Bottom Right: St. Peter’s Basilica, Dome finished in 1590 ence |
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St. Peter’s, interior view |
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Michelangelo,Redesigned Capitoline Hill, 1536-1546for Pope Paul III |
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Michelangelo,Moses, forTomb of Julius II,1513-1515Slaves, 1513-1515 |
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Michelangelo,Tomb of Julius II (1443-1513): Started in 1505, finished1545 |
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Michelangelo,Sistine Chapel: Last Judgement, 1536-1541 |
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Cranachthe Elder, MartinLuther, 1528 |
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Hieronymous Bosch, Garden of Earthly Delights, Triptych, 1505-1515 |
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Pontormo, Deposition, CapponiChapel, Santa Felicita, Florence, 1525-1528 |
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Parmigianino,Madonna of the Long Neck, 1534-1540 |
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Bronzino, Allegory with Venus and Cupid, 1540s |
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AlbrechtDürer,Self-Portrait, 1500 |
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AlbrechtDürer,Melancholia, 1514H |
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AlbrechtDürer,Adam and Eve, 1504 |
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Raimondi,After Dürer,1512 |
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Titian,Venus of Urbino, 1538 |
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disegno |
Masteryof design, drawing, line |
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colore |
color,tone, paint. |
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Giorgione,The Tempest, 1506 |
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Titianor Giorgione, PastoralConcert, 1510 |
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Benvenuto Cellini, Perseus with the Head of the Medusa, 1545 |
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Benvenuto Cellini,Saltcellar, 1540-1543 |
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HansHolbein the Younger, TheAmbassadors, 1533 |
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Anamorphosis |
Imagesstretchedwith the use of a Perspectivalgrid |
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PeterBruegel the Elder, Returnof the Hunters, 1565 |
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PeterBruegel the Elder, TheHarvesters, 1565 |
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Veronese,Feast in the House of Levi, Refectory of the monastery of S. Giovannie S. Paolo, Venice, 1573 |
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Gianlorenzo Bernini, The Ecstasy of St. Teresa(1518-1582), 1645-1652 whole point was to make religion here in the now |
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Qtub minar, Quwwat ul-Islam Mosque, Delhi,1211- 1236 put together by tearing apart something else symbol of power: no use |
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UnknownArtist, Babur, 1630 Babur rules, Humayun, flees, returns and conquers, Akbar the Great, Jahangir, Shah Jahan tiny, in autobiography |
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Unknownartist, Gardens of Babur, c. 1528 place for social gatherings |
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Unknownartist, Babur’s Tomb, after 1528 |
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Mahesh,Babur watching men altering thecourse of the stream, c.1590 |
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Unknown artist, Babur on a RhinocerosHunt, Baburnama, before1530 Babur largest |
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Animals of Hindustan, Baburnama, late16th, Scientific |
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Mirak Miza Ghiyas, Humayun’s Tomb, 1569-70,commissioned by Akbar, sponsored by EmpressBega Begun, Humayun’s widow, Delhi,India |
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MirSayyidAli, The Princes of the House of Timur,1550-1628 startedin Humayun’sreign, new figures added drawn by dif artists |
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Miskina andParas, Bullocks Dragging Siege-Guns up a Hill, Akbarnama, 1589 |
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Mukund andShankar, Rai Surjan HadaSubmitting to Akbar, Akbarnama, 1589 political statements |
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Basawan and Chetar Munti,Akbar’s adventure with the Elephant Hawa’i, Akbarnama,1590-95 wild king who can do whatever he wants |
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The Emperor Akbar present at an armedcontest of contending ascetics, Akbarnama |
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Agra Fort, Akbar’sseat of power, finished 1573 |
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Abual Hassan, Jahangir’s Dream, 1620Jahangiron the rightAbbasI, Shah of Persia on the Left passive aggressive |
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Abual Hassan, Jahangir holding portrait of his fatherAkbar, 1614 |
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Left:Bichtir, Jahangir preferring a sufi Shaikh to Kings, 1615-1618 political message, king not holding sword |
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: Bichtir,Jahangir Holding a Globe, c. 1620 |
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AbdulHamid Lahori,Shah-Jahan hunting lions at Burhapur, Padshahnama of Shah Jahan1636 subdued, more space, linear |
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Taj Mahal, ShahJahan’s reign, 1631-1653 symbol of power and for wife |
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Attributedto Balchand,Dying Inayat Khan, 1618-19, Jahagir’s reign |
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Bichtir, Shah Jahan receives his eldest sons and Asaf Khan during his accession ceremonies, 1630-57 |
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BernardoBuontalenti,Buontalenti Grotto, Boboli Gardens, Florence,1583-1593 dramatic and over the top |
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Renaissance |
Greco-Roman Art- proportion, balance and harmony |
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Mannerism |
Idealisation of Renaissance art elongation, imbalance, elegance |
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Baroque |
Meeting of sacred and mundane |
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Caravaggio,Madonna di Loretto, 1604-1606 |
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Arcimboldo, Holy Roman Emperor Maximillian II ofAustriaWith his wife Maria of Spain and theirchildren, 1563 |
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Arcimboldo, Vertumnus (HolyRoman Emperor Rudolf II), 1590-91 |
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Arcimboldo, The Librarian, 1566gm using symbols to convey ideas very scholarly |
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Arcimboldo, Water, 1566 |
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Arcimboldo, Winter, 1573 |
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Tintoretto,St. Mark’s Body brought to Venice, 1548 very dramatic, and theactric |
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Veronese,Feast in the House of Levi, Refectory of the monastery of S. Giovannie S. Paolo, Venice, 1573 meant to be last summer but artist added their own touch |
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ElGreco, The Burial of the Count of Orgaz, 1586-88 using biblical themes for other reasons |
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ElGreco, The Opening of the Fifth Seal, 1608-14 |
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Caravaggio,Conversion on the Way to Damascus, 1601 |
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Tenebrism |
Exagerration of “chiaroscuro” where images emerge from pitch blacknessfor emphasis |
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Caravaggio,The Calling of St. Matthew, 1599-1600 |
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Caravaggio,Judith Beheading Holofernes, 1598-1599 |
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Artemesia Gentileschi, Judith Slaying Holofernes, 1614-20 |
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