Ghent Altarpiece

Hubert Van Eyck

1425-50

• symbolic sacrafic through christ- overall meaning is the fall and redemption of christ
• center panel: the "alteration of the lamb"
• detail and accuracy=hallmark northern european renissance
• adams foot breaking bottom of page invites viewer
• ATMOSPHERIC PERSEPECTIVE..three planes of space
• foreground: objects brightly colored/detailed, middle: less bright/specific, far: no detail

The Annunciation Triptych

Robert Campin

1400-25

• meaning: behind piece: god in everyday life
• color: used for representation of purity/passion
• figure: characteristic of northern european renissance is EXTREME use of detail
• figure type: same facial structure, oval, long, small nose/mouth. IDEAL type.
• fabric/body: in northern european renissance they weren't concerned w/ actual workings of body
• space: diagonal lines
• space: left plane, uses overlapping planes to depict planes

The Arnolifini Portrait

Jan Van Eyck

1425-50

• SECULAR
• green: color of fertility
• mirror/wall: jan van eyck was here
• passion: cycle of christ depicted around mirror
• space: artificial barrier is broken down to help viewer feel more apart of piece

Man in the Red Turban

Jan Van Eyck

1425-50

• self portrait?: can't be identified as self portrait, but very detailed/intriquit, eyes going in two directions
• interest: in detail/texture, accuracy, and IMPORTANCE OF INDIVIDUAL

Deposition

Rogier Van Der Weyden

1425-50

• deposition: means decent from the cross
• similarities: color, jewel tones, reds, blues, greens
• figure type: women look similiar, men more diverse
• composition: horizontial rectangle, strong vertical axis, takes center, lights and brightest colors
• space: overlapping planes, shallow space created
• rhythm: christ's body has "s" curve which is repeated
• realism: northern renissance art uses extreme emotion in facial expressions

Portinari Altarpiece

Hugo Van der Goes

1474-76

• triptyic: main subject in center is Adiration of the shepards, wings- patrons are depicted
• hierarchical scale: depicted by saints being larger than family
• shoes: removed b/c holy ground
• figure type: oval long face, smooth, high hairline, large forehead
• space: ATMOSPHERIC PERSPECTIVE
• figure: fabric hides body, more concerned w/ flow of things
• continious narriation: wise men on road in background, many things happening at once

Garden of Earthly Delights

Hieronymus Bosch

1500-1525

• left wing: paradise(garden of eden), right wing: hell(inferno)
• intention: to be viewed over altar of church
• paradise: more simple, adam and eve
• center: highly imaginative, very busy, scale is off and different
• hell: tone, dark and hellish

Saint Anthony Tortured by Demons

Martin Schongauer

1475-1500

• wood cut, print- makes multiple copies
• religious: he's being toremented by naked women and monsters
• LINEAR STYLE
• composition: space is ambigious, and a circular composition, using diagonal lines through subjects

Four Crowned Ones

Nanni di Banco

1400-1425

• sculpture- figure and drapery relationship: defined knee cap, fabric relates to body
• florentine philosphy: they're interested in looking below the surface
• body type: related to ancient greek sculpture
• space: they set figures in life like spaces
• psychological crosspace of figures looking at eachtoher, they look like they're talking to one another
• panel below 4 crowned ones--they're buildings walls and sculptures...depicted as same as shoe/breakmakers

St Mark

Donatello

1411-13

• Symbol of mark= halo, and hes depicted
• this is the first time since classical antiquitity that a figure has been posed in CONTRAPPOSTO: meaning counter balance, balancing stability wih the potential for movement
• body w/ potential for movement
• to balance legs, shoulders tend to use forward/backward movement, head in turn moves side-side
• fabric reveals this movement beneath the folds

St George

Donatello

1400-1425

• lots of armour with him- subtle contrapposo
• nitche is shallow and enhances feeling that he could come out of his nitche
• mind and body working together---body activated and controlled by mind
• st george looks focused and engaged body is prepared
• unity and counterbalance combine

Feast of Herod

Donatello

1425-1450

• panel on a baptismal font- free standing sculpture, you can walk around
• 1st example of 1pt perspective space
• continous narriation- foregound, middleground, background
• john the baptists head: everythings going off to the edges
• space: overlapping planes
• relief in the planes

David

Donatello

• 1st free standing, life size, male figure
• donatello used contraposso
• he looks like a teenager

Gattamelata

Donatello

1425-50

• 1st lifesize equestrian model
• ordinary man depicted on horse---military leader which highlights the importance of the individual in the humanist outlook
• similiar idea of st george----mental activity depicted
• thinking individual has control over horse---MENTAL HAS CONTROL OVER PHYSICAL

Mary Magdalene

Donatello

1454-1455

• un-idealized body, meant to represent physical detoriation
• religion represented through piece

The Holy Trinity

Masaccio

1425-1450

• fresco----painted on the wall, fresco usually used by italians
• gestures are less intense/restraint in emotion
• virgin mary leads into piece, less color/simple figures

Tribute Money

Masaccio

1425-50

• in chapel---strong single light source
• depicts tax collector asking christ for tax money
• peter goes to fish----fnds coin in fishes mouth, uses continious narriation
• ATMOSPHERIC PERSPECTIVE: different planes used
• 1pt perspective with buildings
• uses contraposso in figures
• CHIAROSCURO: USE OF 1 DIRECT LIGHT SOURCE
• some variety in facial expressions
• they place emphasis on form beneath the fabric

The virgin and child

Masaccio

1425-50

• plyptic
• tempra paint on wood

San Lorenzo

begun 1419 completed 1460's

• church architecture- you can tell from outside what you'll get on inside
• floorplan: longitudinal---one shape in middle and matching shapes all around
• christian churches are oriented E---W
• most important part of church= altar
• naeve, isle, side chaple

Chapel of the Pazzi Family

Filippo Brunelleschi

1425-50

• paid for/ used for by the pazzi family
• used as monk's chapter house
• rounded windows/flat and 3D columns
• flat colums: pilasters
• horizontal element: entablature
• cenralized chapel: used for martry's and family celebrations, smaller number of people
• rounded shapes repeated throughout
• hole in dome/12 windows to left in light, (presence of god)

Gates of Paradise

Lorenzo Ghiberti

1425-50

• bronze doors, guilded, relief sculpture
• subjects taken from old testament
• self portrait of head included on door
• FOCUS: the story of jacob and esau
• creation of space used w/ 1pt perspective overlapping planes also used
• continous narration- his mother helped to decieve esau
• used contraposso
• drapery used to reveal body
• hollowed out pieces to create depth

Monument to Leonardo Bruni

Bernardo Rossellino

1425-50

• leonardo brui--funerary monument
• humanist and christian influences
• 2nd elements- figures holding up text are angles symbols of victory
• symbol of lion at the top- his chrest?

Santa Maria Novella

Leone Battista Alberti

1450-75

• black and white used for pattern
• romanesque italian influence
• greek temple type- color triangles  and columns

Santa Lucia Altarpiece

Domenico Veneziano

1425-50

• madonna and child enthroned, tempra-rich colors "high key tonality"
• light blue, red and green
• space- two feet demonstrating the marking of the base, also use of overlapping planes in architecture to suggest space
• multiple light sources: mainly from the back right
• figure type: changing young, old men
• women: pale and delicate
• red used to call attention

The battle of San Romano

Paolo Uccello

1425-50

• triptyc: originally meant to go together in a house
• sides reinforce attention to the center- spent a lot of time figuring out underlying shapes
• secular subject: interested in geometry

The Annunciation

Fra Angelico

1425-50

• focused on the spirit of the scene
• its a fresco- worked for the monestary focused on the spiritual quality of the natural world
• space: uses 1pt perspective as well as overlapping planes
• wasnt focused on the body

The Last Supper

Andrea del Castagno

1425-50

• fresco- in a nuns refectory
• diabolical people: dark hair pointy nose/ears
• common piece

Palazzo Medici- Riccardi

Michelozzo di Bartolommeo

begun 1446

• italian palace- distinguishes it from villa *townhouse*
• facade divided into three layers: standard
• middle floor: called 1st floor, piano noble---most things happend
• top floor: working floor
• ground floor: bussiness
• interior courtyard---exterior and interior related
• major differences between floors
• distinguishes floors through use of texture
• unifying element---rounded windows on all floors

Madonna and Child

Fra Filippo

1453

• monk who eloped with a nun
• elaborated/made more detailed figures
• detailed background---birth of virgin narrated in the background
• contemporary decor and architecture

Resurrection

Piero della Francesca

1450-75

• static and permanent body figures
• simplification towards the geometric
• wasn't interested in movement at all
• expressionless

Portrait of the Duke and Dutchess of Urbino

Piero della Francesca

after 1472

• double portrait of married couple
• profile view used for people who used intellect
• little psychological connection
• on the reverse side- triumphs illustrated specific to him and her

St. Sebastian

Andrea Mantegna

1457-1459

• interested in anatomy- contraposso, astmospheric perspective, 1pt persepctive layered
• icogonarphic- old world crumbing into new world
• man made vs. natural world

S. Andrea

Leon Battista Alberti

1470

• remodeled- calm (colors)
• arches used throughout, and columns
• architectural complexity, he used colossal order, colums go through more than one story
• variety used- deep opening under arch
• deep opening on floor ground, medium opening on middle floor and flat on top

Camera Picta

Andrea Mantegna

1465-74

• fresco- golden painted hole in ceiling illusionistic "Worms Eye View" people looking down
• firepace painting scene activity behind the curtain, its a SECULAR SUBJECT
• oppostie wall- has to do with lineage...meant something to family
• designed to be illusionistic

Herclues and Antaeus

Antonio del Pollaiolo

1450-75

• subject mythological---- introduced into art
• hercules knew he could defeat anteaus by lifting him off the ground
• he was interested in motion and body
• ink well on desk, seen from all sides

Battle of the Nudes

Pollaiolo Antonio

1470-75

• engraving
• he was interested in body/ action and seeing things from different angles

Birth of Venus

Sandro Botticelli

1486

• Venus born of immaculate conception
• goddess of love- encorporates neoplotanic: how does physical love related to devine love, (spiritual) love in heaven?
• physical love just hint to spiritiual love you can experience in the devine world
• linear style: EVERYTHINGS OUTLINED

Primavera

Sandro Botticelli

1478

• made for a member of the medicci family
• starts in the right and reads to the left
• left----three graces that are dancing in costume---linear folds and edges of fabric
• he was very interested in detail and elegant figures

Equestrian Monument to Bartolomeo Colleoni

Andrea del Verrocchio

1480-96

• located in venice
• lots of movement---elaboration on prior works

St Francis in the Desert

Giovanni Bellni

1480

• Venicean artist---interested in landscape
• more interested in senses than intellect (equal)
• St Francis is given the STIGMATTA- same holes that jesus had in hands
• hes looking up at jesus (heaven) in nature
• venice

San Zaccaria Altarpiece

Giovanni Bellini

1505

• relationship of figures to background---very small compared to figures
• as you're standing in church theres real repetition
• simple, lare, quiet figures

Birth of the Virgin

Domenico Ghirlandaio

1485-90

• Birth of the virgin
• religious subject---seculazation
• the whole thing is a fresco
• space: overlapping planes, 1pt perspective, diagonal lines
• top of stairs: continous narration

Portrait of an old man and a young child

Domenico Ghirlandio

around 1490

• realistic portrait---linear style
• in linear style theres color blocks
• relationship between outside/inside: very clearly making it renissance

• domes used on churches instead of steeples
• proprtional relationships change: humanism is highlighted

• started in florence b/c it was a democracy
• b/c of excess trade money, focus placed on in individual (thus art purchased)

Adoration of the Maji

Leonardo da Vinci

1475-1500

• unfinished painting
• center comp: equilateral triangle
• balance and euilibrium used to achieve perfection

• painting was cut down---double sided painting
• figure-ground relationship: atmopsheric perspective
• painterly style: isnt completed with line but with color shift/shadow
• pose of figure- everything isn't on same plane

Virgin of the Rocks

Leonardo da Vinci

1475-1500

• worked for the duke of milan
• artsist were expected to do whatever patron wanted
• composition- equilateral triangle
• color- red, yellow, blue
• body language: carries you throughout the piece namely through the hands
• no matter which path- always landing back on christ

• unity was a major high renissance attitude
• in Leonardo's last supper: highlights bodymovement, energy and unity

Mona Lisa

Leonardo da Vinci

1503-05

• in this piece---most important aspects: lighting, spacing of figure and pose
• pose: SERPENTINE POSE---meaning 3/4 view in a spiral upwards (makes seated figure look like theres a potential for movement)
• NEW: half length portrait which includes hands in a nautral way
• hands: have been pushsed off center/darker color to keep focus on face
• figure/background relationship: shes seated in covered/open balcony area
• connecting figure w/ landscape: repetition of color/shape, eyes and upper part of face are above horizion line
• atmospheric persepctive in background
• SFUMATO: very soft/gradual transition from light to dark
• her eyes: follow viewer, halfsmile has potential for speaking

San Pietro In Montorio

Donato Bramante

1502

• centralized church---simple geometric cirlce
• honoring st peter
• bramante was precise w/ columns and panels
• METOPE: horizontal panel, TRIGLYPH: vertical panels

Pieta

Michelangelo Buonarroti

1498-99

• statue of virgin mary and dead christ
• completely different approach: main theme, and emotion are translated to viewer
• a lot of idealization and detail

David

Michelangelo

1501-04

• excellent example of idealization
• interested in torso---torso was essential
• adolescent due to hand/feet size (large)
• sculpture has 1 main view point
• clear intellect presented in sculpture: flared nostrils, tension in neck, lines in forehead
• balance between mind and body

Tomb of Juilius II
Michelangelo

1513-16

• Pope juilius II- moses, big muscles movement and shadows in beard
• moses has horns: translation error, supossed to be "ray of light but moses subsequently showed up with horns throughout the middle ages
• facial reveals mental alertness

Rome Sistine Chapel Ceiling

Michelangelo

1508-12

• serpentine line strong in the figures

Madonna with child and the young st. john

raphael

1507

• madonna by the rocks: equilateral triangle
• red, yellow, blue, idealized

Stanza dealla senatura

raphael

1509-11

• Was working for juilius
• 4 walls illustrate 4 branches of knoweldge:
• philosphy, poetry, law, theology
• semicircular shape used throughout
• space: bilaterally symmertrical balanced on RT and LFT
• space created through 1pt perspective
• semi-circle of figures apparent

Pope Leo X with his Nephews

Raphael

1518

• example of an environmental portrait
• helps clarify interests/personality
• difference between linear/painterly: stronger sense of painterly w/ texture
• linear style: closer, more detail
• bell and magnify glass