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| A branch of philosophy concerned with defining beauty. |
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| Meaning and interpretation of formal elements of a work of art. |
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| the study of art in its historical and cultural context |
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| a person or a group who commissions or supports a work of art. |
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| history of ownership, what site did it come from |
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| the materials from which works of art are made |
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| intense study of individual art objects |
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| the small components that make up a work of art. line, shape, color, texture, space, mass. |
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implies a canon of widely accepted ideal forms
INTEREST IN ANCIENT GREEK AND ROMAN CIVILIZATIONS |
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| While medieval society viewed artists as servants and craftspeople, Renaissance artists were trained intellectuals, and their art reflected this newfound perspective.In humanist painting, the treatment of the elements of perspective and depiction of light became of particular concern.The Humanists of the Renaissance and their exploration of the belief that human beings can live full and happy lives before they go to heaven. Also less halos, now figures same size in paintings.INTEREST IN HUMAN ACCOMPLISHMENT |
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| Mannerism exaggerates proportion, balance, and ideal beauty, often resulting in compositions that are asymmetrical or unnaturally elegant .Mannerism is notable for its intellectual sophistication as well as its artificial (as opposed to naturalistic) qualities.[3] Mannerism favors compositional tension and instability rather than the balance and clarity of earlier Renaissance painting. |
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an art technique that uses realistic imagery to create the optical illusion that the depicted objects exist in three dimensions.
"FOOLING YOUR EYE" |
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| is the use of strong contrasts between light and dark, usually bold contrasts affecting a whole composition. It is also a technical term used by artists and art historians for the use of contrasts of light to achieve a sense of volume in modelling three-dimensional objects and figures. |
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| The word "sfumato" comes from the Italian language and is derived from "fumo" (smoke, fume). "Sfumato" translated into English means soft, vague or blurred. Leonardo da Vinci (1452-1519) became the most prominent practitioner of sfumato - his famous painting of the Mona Lisa exhibits the technique. Leonardo da Vinci described sfumato as "without lines or borders, in the manner of smoke or beyond the focus plane" |
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Artist: Leonardo
Title: The last Supper
Medium: Tempera and Oil on Plaster
Date:1495-98 Renaissance
Sourse/Museum: Monastery of Santa Maria delle Grazie, Milan, Italy
-To the left is John, Peter, and Judas
-Depicts moment after Jesus tells them that one of them will betray him
-use of perspective. Disastrous use of tempera and oil leading to decay.Use of chiaroscuro gives volume to figures. Coffers give depth
-jesus doesn't have halo, rather the window serves as one
-Unlike most paintings of this scene, Judas is seen among them rather than off to the side by himself |
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Artist: Leonardo
Title: Mona Lisa
Medium: Oil on Woodpanel
Date: c.1503
Source/Museum: Italy. Now in Musee du Louvre, Paris
-No eyebrows, high hairline, was the ideal for women of the time. No jewelry, may represent piety.
-From waist up, different than typical portraits which featured the upper torso.
-Maybe Leonardo, maybe Lisa Gherardini
-Woman looking straight at viewer, bold for the time. Use of sfumato (see veil). Artist kept until he died |
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Artist: Raphael
Title: School of Athens
Medium: Fresco
Date: Renaissance c.1510-11
Source: Stanza della Segnatura, Vatican, Rome
-Depicts Plato and Aristotle. Plato pointing to heaven because ulimate source of philosophy, emphasized idealism. Aristotle palm facing down, more interested in material world and empirical knowlege.
-All philosophers features individualized. Probably Raphael's friends. Plato maybe Leonardo. Michelangelo near front. Raphael self portrait there too, supposed to represent greek philosopher Apelles Decorated walls of library. Features trompe l'oeil technique of fooling the eye |
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Artist: Michelangelo
Title: Sistine Chapel Ceiling
Medium: Frescos
Date: Renaissance 1508-12
Source/Museum: Vatican, Rome
-Decorated with scenes of bible, most famous is God creating Adam
-Classical Sibils, female prophetess, featured along edges, fortold Jesus's brith
-figures (including women) very muscular and larger than life Wasn't confident as painter, identified as sculptor, wasn't happy to be commissioned. Most famous is God creating adam
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Artist: Michelangelo
Title: David
Medium: Marble
Date: Renaissance 1501-04
Source/Museum: Galleria dell'Acccademia, Florence
-Originally supposed to be atop a building, but when made put in square instead. 17 ft high.
-David right before he faces Goliath, very worried. Has his sling over his shoulder. Concentration and contemplation. Represents male ideal of the time
-Power of right over might. |
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Artist: Bronzino
Title: Allegory with Venus and Cupid
Medium: Oil on Panel
Date: Renaissance (Mannerism)Mid 1540's
source/museum: National Gallery, London
-Cupid kissing mother and holding his breast. Venus taking his arrow from his quiver. Could be distracting him in order to disarm him. Venus holding golden apple
Commissioned for french royalty. Meaning is esoteric. Mannerist style
-2 masks duplicity
-old man chronos could represent time
-woman in top left could represent truth, outraged and pulling back curtain.
-beautiful girl with body of serpant monster holding honeycomb and scorpion stinger, could be fraud.
-Screaming individual could be female, jelousy, or male, pain. Could also personify siphilus. |
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| movement which called for the reform of the catholic church. Erasmus of Rotterdam and Martin Luther 2 well known figures. |
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| response to the reformation by the catholic church |
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| literally means destruction of religious art in response to fear that people would begin to worship the art itself instead of the concepts and symbols |
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Artist: Matthias Grunewald
Title: Isenheim Altarpiece (closed)
Medium: Oil on wood panel
Date:Renaissance (Germany) c.1510-15 Date 1515 on ointment jar
(reformation/Renaissance)
Source/museum: Musee d'Unterlinden, Colmar, France
Open has a different scene. Recognizably different style than Italian renaissance. Style like mideval German mysticism and emotionalism. Depicts crucifiction in gory detail. Figure to left with ointment jar is Mary Magdeline. Lamb cut and dripping blood into goblet, symbolic of Jesus.
-Meant to evoke emotional response from audience.
-Placed in chapel of hospital linked to monastery
-Hospital specialized in skin diseases.--Northern European artists used oils to include more detail in their paintings as opposed to southern european artists that used frescoes or watercolor.
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Artist: Albrecht Durer
Title: Four Apostles
Medium: Oil on wood panel
Date: Renaissance (germany) 1526
Source/Museum: Alte Pinakothek, Munich
Excellent example of protestant art.
reaction to iconoclasm
Durer openly expressed belief in protestantism. Diptic, two panel alterpiece. Peter (the first pope) holding the key to heaven, in front of him John the Evangelest reading scripture. Mark and Paul on the other side, Paul is in front, his teachings were admired by protestants. Inscriptions warn viewers not to be fooled by false profits. |
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Artist: El Greco
Title: Burial of Count Orgaz
Date; Renaissance 1586
Source/Museum: Church of Santo Tome, Toledo, Spain
El Greco means the greek in Spainish.
Comissioned by Orgaz family, to honor 14th century ancestor, count Orgaz. Large benefactor of church. Believed saint augustine and another saint appeared at funeral and lowered his body into ground, then Orgaz's soul acended into heaven. Somewhat manneristic type painting because proportions strange.
Attendees based on portraits. Artists young son is included |
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Artist: Hieronymus Bosch
Title: Garden of Earthly Delights
Medium: Oil on wood panel
Date:Renaissance (Dutch/Holland/Netherlands) c. 1505-15
Source/Museum: Museo del Prado, Madrid
Tripdic, alterpiece divided into 3 panels: paradise, earth, and hell. Subject is sin, a cautionary tale, damnation natural outcome of sinful life. Paradise shows adam and Eve with god. Sense of scale very strange, very strange things happening everwhere. Very original depiction of hell, like the burning cities. Artist Deeply Religious man very creative surrealist tendencies |
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| Object that contains holy items |
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lighting technique. Forms emerging out of dark background into harsh light.
Spot lighting effect in painting |
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popular during baroque era when the most realistic painting was sought after
a collection of inanimate objects photographed or painted |
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| paintings that depict scenes of contemporary daily life. |
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| Transience of life, seize the moment, ephemeral quality of material objects. |
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| Artist: Gianlorenzo Bernini Title: Baldacchino Medium: Gilt Bronze and marble Date: Baroque 1624-33 Pier decorations, 1627-41 Source: Crossing, Saint Peter's Basilica, Vatican, Rome cannopy made of gilt bronze. Commissioned by Pope Ervin/urban the 8th. commemorates altar/tomb of st.peter (who lead church after death of jesus). Intertwining vines symbolize new testament and old testament. World at top symbolizes christian dominion over the world. Chair believed to be throne from which St. Peter ruled christian world. |
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Artist: Caravaggio Title: The calling of Saint Matthew Medium: Oil on Canvas Date:1599-1600
Source: Contarelli Chapel, Church of San Luigi di Francesi, Rome
Commissioned to decorate chapel. Biblical figures of Jesus and st. Peter dressed in contemporary clothes and not idealized. Pointing at Levi and asking him to become an apostle and the disciple Matthew. Faint Halo around Jesus's head. Levi was a tax collector |
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| Artist: Jules Hardouin-Mansart and Charles le Brun Title: Hall of Mirrors, Palais de Versailles Date: Baroque Begun 1678 Source: Versailles, France Mirrors made of Venetian glass. Mirrors a luxury at the time. Mirrors across from windows. Makes room look huge. Example of decadence of Baroque period. Mirrors imported from Venice |
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| Artist: Diego Velazquez Title: The Surrender at Breda (The Lances) Medium: Oil on canvas Date:Baroque (Spain)1634-35 Source: Museo del Prado, Madrid Shows a victory of Spanish over Dutch town of Breda. Typical defeat painting, except that the interaction between the commanders: Dutch commander handing over keys, pose very gracious, strange comradery. Different than typical conqueror paintings which demonized the enemy. Breda burning in background Spanish lances upright showing organization while dutch lances disheveled and chaotic Naturalism |
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| Artist: Rembrandt van Rijn Title: Self-Portrait Medium: Oil on canvas Date:Baroque (Dutch)1658 Source: The Frick Collection, New York very realistic, shows his age, uses tenebrism. Premier 17th century artist in Amsterdam Prolific portrait painter has a series of self portraits that chronicle his life. Naturalism Humanism, accepting our limitations and embracing flaws |
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Artist: Vermeer
Title: Woman Holding a Balance
Medium: Oil on canvas Date:Baroque (Dutch) c. 1664 Source: National Gallery of Art, Washington D.C.
Weighing some of her jewelry. Detail , quiet interior, stillness, introspection, like we are peeking into the scene. Painting behind her depicts the last judgement. Created Few paintings. Very interested in domestic scenes. Captured instants in time (vanitas) |
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| "Rebirth" of traditions of ancient Greek and rome |
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