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Nicola Pisano,
Pulpit, Pisa Baptistery,
1259-60
Pisa Italy
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Giovanni Pisano:
Pulpit,Sant'Andrea,
1297-1300
Pistoia Italy
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a belief that regarded the universe and its contents as ordered in an absolute hierarchy.
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how an artest would learn; they would appritance and learn from skilled artists
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the use of differiniating size in to distingush heirachy
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Playing on the fact that jesus is have man have god and dipicting him as either or. i.e the pulpits
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The birth place of the Renassance- due to high economic boom, thus commissions for art.
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sculpting that is not free standing but carved out of a wall.
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style in which bodies are depicted in a generalized or idealized fashion.
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Anything which embellishes a figure, or a composition.
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the viewer is provided not simply with many examples of the same thing, but with many different things
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type of ornamentation in which opposites are set in contrast with one another
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Giotto:
Arena Chapel frescoes,
Padua,
1305-06:
Expulsion of Joachim from the Temple
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Cimabue:
Madonna Enthroned w/ Angels & Prophets, tempera on panel,
1280s
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Giotto:
Madonna Enthroned,
tempera on panel,
1310
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Duccio:
Maestà Altarpiece,
for Siena Cathedral, tempera on panel, 1308-11
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art work that is placed above an altar in a church
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elevating the consecrated bread of the Eucharist during the mass
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someone who which orders (i.e., commissions) a work of art or architecture
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The atoning or making up for an offence committed against God or one's neighbor.
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A painting made on wet plaster with pigments suspended in water so theat the plaster absorbs the colors and the painting becomes part of the wall.
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| hallmark of Giotto's art, and of the Italian art that follows his example |
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the juxtaposition of light and dark pigments to represent light and shade in illusionistic painting.
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A work of painting or sculpture consisting of four or more individual panels joined together.
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the process for creating the illusion of three-dimensional form on a two-dimensional surface.
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techinque used to show the importance of a figure using size
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Rendering a figure or object from an unusual point of view, so that its length appears compressed.
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a term used to describe a feature in a painting or sculpture that involves special skills on the part of the artist, often associated with foreshortening.
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A style of painting incorporating features derived from Byzantine models such as chrysography and stylized, elongated faces.
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lending money at a high rate of interest
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Lorenzo Ghiberti:
Sacrifice of Isaac, Florence Baptistery door competition panel, 1401-02
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Masaccio:
Brancacci Chapel Frescoes, ca. 1427:
--Expulsion of Adam and Eve from Eden
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Fra Angelico:
Annunciation, fresco, corridor of Florentine monastery of S. Marco, ca. 1440-45
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Lorenzo Ghiberti:
Sacrifice of Isaac, Florence Baptistery door competition panel, 1401-02
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Fra Filippo Lippi:
Madonna & Child with Angels, tempera on panel, ca. 1455
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Donatello:
St. Mark, marble statue for exterior of Orsanmichele, Florence, 1411-13
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Gentile da Fabriano:
Adoration of the Magi (Strozzi Altarpiece), tempera on panel, 1423
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David, bronze statue probably made for Medici family, 1440s
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Piero della Francesca:
Resurrection, fresco in town hall, Borgo Sansepolcro, ca. 1463
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Andrea Mantegna:
Camera degli Sposi, frescoed room in Palazzo Ducale, Mantua, 1465-74
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Lorenzo Ghiberti:
East Doors to Florentine Baptistery ("Gates of Paradise"), 1425-52
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Part of the final process of polishing and incising done on a piece of cast metal sculpture after it has been removed from its mold.
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| Ghiberti's Jacob and Esau panel from the Gates of Paradise shows an example of |
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when a piece of artwork shows one body part in motion while the other one is resting. a "weight shift"
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| Donatello's David is an example of what? |
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Professional associations of artisan-manufacturers and bankers.
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| who commissioned Donatello's st. mark? |
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where everything in the picture is heading toward a "vanishing point" with orthagonal lines
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Modelling with a certain "smokiness." A subtle transition from light to dark across a surface or object in a painting, creating an appearance of softness.
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The application of paint in short dabs or spots of color.
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| A technique used by Gentile da Fabriano, among others, in the early 15th century. |
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painting by reducing the contrast between light and dark on objects that you wish to suggest are further away.
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| Masaccio uses what technique in his Tribute Money |
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| Optical Modeling-in painting |
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the modeling of an object in accordance with how it appears to sight rather than in accordance with its known characteristics
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| the expulsion of adam and eve done by Masaccio uses what technique |
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A portrait included in a work of religious art, depicting the person who commissioned the work of art
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| Masaccio's Holy Trinity was this type of painting |
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A type of altarpiece in which saints from different epochs occupy the same illusionistic space as the Virgin and Child.
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A method of painting a ceiling using perspective and extreme foreshortening to create a convincing illusion.
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| Used in the oculus painted on the ceiling of Mantegna's Camera degli Sposi. |
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Dome, Florence Cathedral, 1420-36
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Limbourg Brothers:
Les Très Riches Heures du Duc de Berry, 1413-16:
--Calendar page for January
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Jan van Eyck:
Ghent Altarpiece, completed 1432
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Santo Spirito, Florence, begun ca. 1436 Filippo Brunelleschi:
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Jan van Eyck:
Man in a Red Turban, 1433
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Jan van Eyck:
Giovanni Arnolfini and his Bride (Giovanna Cenami), 1434
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Leon Battista Alberti:
Sant' Andrea, Mantua, begun 1470
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Rogier van der Weyden:
Escorial Deposition, ca. 1435
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Hieronymus Bosch:
Garden of Earthly Delights, 1505-10
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A painting technique in which pigments are suspended in a medium consisting of a drying oil such as linseed or walnut.
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A method of painting in oils which involves the application of a transparent layer of dark paint on top of an opaque layer of light paint
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A term sometimes used to describe Flemish paintings in which naturalistically depicted, everyday objects are laden with symbolic meaning.
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A style term used to describe art that presents the world in accordance with optical reality.
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A painting (most often an altarpiece) consisting of three panels, usually hinged together.
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derivide from the aristotal way of thinking by combinding things you have seen to create something you haven't
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Wooden framework used to construct an arch, vault or dome but is removed after work is done.
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| Modularity and Proportion |
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a form of blueprinting based on this single module, all of the parts are proportionate to each other
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| an example of modularity and porportion would be? |
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Filippo Brunelleschi church plan
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ionic, doric and corithian
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Roman architect and architctural theorist active who was much read by humanists and architects in the 15th and 16th centuries.
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A type of church plan in which the nave is longer than the transept, producing three short arms and one long arm.
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The front of a building, on which the main entrance is usually located.
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A low-pitched gable, or triangular structure that sits atop the portico of a building constructed in the Greco-Roman style
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A free-standing gateway structure erected by ancient Roman emperors after a military victory.
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A shallow pier or rectangular column projecting only slightly from a wall.
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| Colossal (or Gigantic) order |
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Any architectural order whose columns rise from the ground through several stories.
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A simple form of an arched ceiling that consists of a rounded or pointed arch extended into space.
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Sunken square or polygonal ornamental panels used as decoration on a ceiling or vault.
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Andrea del Verrocchio:
David, ca. 1465-70
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Antonio del Pollaiuolo:
Battle of the Ten Nudes, engraving, ca. 1465
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Sandro Botticelli:
Birth of Venus, ca. 1482
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Domenico Ghirlandaio:
Giovanna Tornabuoni, 1488
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century scholars who studied and wrote literature, history and ethics in classical Latin and sometimes in classical Greek
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