Term
| What was the Renaissance Time period? |
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Definition
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Term
| What time period was the Early Renaissance? |
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Definition
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Term
| What time period was the middle Renaissance? |
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Definition
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Term
| What time period was the high Renaissance? |
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Definition
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Term
| What time period was the post(late) Renaissance? |
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Definition
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Term
| What time period was the Baroque? |
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Definition
|
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Term
| what time period was the late Baroque? |
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Definition
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Term
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Definition
Robert Caminpin
"The Merode Alterpiece"
1428 |
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Term
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Definition
Rogier VanDerWeyden
"The Deposition"
1400-1464 |
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Term
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Definition
Jan Van Eyck
"Arnolfini Wedding"
1434 |
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Term
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Definition
Hugo Vandergoes
"Portinari Alter piece"
1476 |
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Term
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Definition
Hans Holbein
1533
High renaissance |
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Term
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Definition
Hieronymus Bosch
"The Garden of Earthly Delights"
1503
High Renaissance
(only one panel of tiptec) |
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Term
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Definition
Pieter Bruegel
"Return of the Hunters"
1565/pre baroque |
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Term
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Definition
*LEFT:
Robert Campin - "Merode Altarpiece" 1428
*Flimish->NORTH
-skewed perspective
-Realism on hidden meanings-everything is important
*RIGHT:
Masccio- "The Trinity" 1427
*Italian->SOUTH
-true 3D depth perspective (one of the 1st to do this). Vanishing point |
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Term
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Definition
LEFT:
Jan Van Eych- "Arnolfini Wedding" - 1434
Flemish-NORTH
*attitude- like-body, like-mind- greek mythology, all covered up, more religious/puritanical attitude.
-Where we get disguised symbolism- all things important
Donatello
RIGHT: "David" -1432
Italian- SOUTH
*rebirth of classical greek past- one of the first free standing nude statues since greek times. |
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Term
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Definition
LEFT- Bosch, "Garden of Earthly Delights" - 1503
NORTH
*more interested in story telling than perspective
*riot of activity- no uniformity
*The creation and fall of humanity
*Romantice view
RIGHT- Raphael, "School of Athens" - 1511
SOUTH
* Balanced, harmony, logic, symetrical - classical
* accuracy of worlds around them |
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Term
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Definition
LEFT: Titian - "Danae" - 1553
SOUTH
*greek goddess
RIGHT: Peter Briogal - "Return of the Hunters" - 1565
NORTH
*skewed perspective
*greater interest in genre
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Term
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Definition
LEFT: Mathias Grunewald, "The Eisenheim Alter piece" - 1460-1528
NORTH
*Grotesque emotion- more immediate
*romantic
RIGHT: Perugino, "The Crucifixion" - 1480
SOUTH
*pristine-holy looking
*classic- greek-like, calm serene, logical
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Term
| Describe the southern Italian Tradition |
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Definition
based on classical greek past,humanistic,
secular,rational,
logical, shows the love of careful planning
catholic,
*shows the love of realism based on perspective and scientific inquiry |
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Term
| Describe the Northern Tradition |
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Definition
“Naturalism in Northern Artists/Arts”,
Essay that talks about the renesaince (early-late),
musachio, butaleski, jan van Eich,
symbolic,
religeous,
gothic,
emotional,
prodestant,
*realism based on scholastacism and the beleif that everything is important
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Term
| describe the six major differences of importance (they have an order) of the South Versus the North |
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Definition
1)humanistic V symbolic-meaning
2)secular V religeous (Leo X vrs Martin Luther)- pope had kids etc
3)Catholic V Prodistant
4)Greek past V Gothic heritage- midevil traditions
5)Rational/logical-based on careful planning-greek classisicm V Emotional Impact (ex- crucificion)
6)Both realism but
realism- based on perspective V God made it (religeous), so include it and make it real- extreme detail |
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Term
| What did Humanism/Classicism mean to the North and to the south? |
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Definition
interest in original source work- has become the foundation of modern research.
NORTH: renesauce- beleived reasearch and knowledge should not be made on what the pope says (martin luther) but should be based on the original source devoid of opinion. Luther-> his original source was the Bible (Sola scriptora: the bible alone- nothing else)
SOUTH-For the scholars it was the original greeks- plato etc. |
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Term
| We discussed in class that martin wrote about dividing up the Baroque in three different ways concerning STYLE. What are those three divisions? |
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Definition
1. counter Reformation: Italy/Spain. -
2. Absolute Monarchy: France/England (sometimes called classicism. -
3. Middle Class: Ashland/Flanders-
Style is quite distinct between these. Defining Baroque art is hard because there are three differences
**instead we should look at the context/content/ideas that are expressed in the work. The context is an underlying theme in all these countries and during this time period. |
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Term
| What are the 7 ideas that martin uses to categorize the baroque? (he uses them as chapter headings) |
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Definition
1. Naturalism
2. (Baroque psychology) passions of the soul
3. allegorical subjects
4. principle of coexistensive space
5. movement
6. light
7. Classisism. (antiquity) |
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Term
| Describe Martin' view of Naturalism |
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Definition
1. Naturalism -most unifying element with all Baroque artists. Verisimilitude- very similar too- so similar too that it looks how it is supposed to look. (naturalism and realism- the same thing to the Baroque artists)
-secularization of knowledge- (the idea of knowledge is becomming more secular and worldly other than religeous base)
-growth of science (in the seventeenth century)
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Term
| Describe Martin's version of Baroque psychology/passions of the soul. |
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Definition
2. (Baroque psychology) passions of the soul- sumblime- inner emotions
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Term
| describe martin's version of allegorical subjects |
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Definition
3. allegorical subjects (hidden meaning- something beneath the surface) (difference between the north and the south. Northern already allegorical- hidden symbolism. italian, french etc.- south do this as well) The emphasis is on two worlds: the earthly and the heavenly or the outter world and the inner world. (relating back to the passions of the soul and naturalism) Hidden meaning. Can depict the outer world but at the same time it has some sort of emotion- inner feeling tied to the (objects in the painting).
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Term
| describe martin's version of the principle of coextensive space |
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Definition
4. principle of coexistensive space- the space of the object itself as well as the space all around it. It extends outward as an object but at the same time it draws the viewer inward and unifies the experience all together. (capernucus and galelaeo and how the world actually operates- things are infinate- we actually evolve around the sun- not the other way around: back to science) Opera- some people think this is the best example of the Baroque ers- naturalism, emotion etc. The event. Grabs the audience and makes them a part of that experience. Painters and sculptors do the same thing.
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Term
| describe martin's view of movement |
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Definition
5. movement- related time and space.
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Term
| describe martin's view of light |
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Definition
6. light- related to the sense of allegory- two worlds coming together. Light and dark: already a sense of two worlds. Enlightenment, reason and truth. Dark: evil, danger, blindness, death.
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Term
| describe martin's view of classism/antiquity |
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Definition
7. Classisism. (antiquity) parts of the reneissance carried on- classical stories, subjects etc= compare. Contrast-the other 6 points above.
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Term
How do we catagorize/convey Art History?
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Definition
A) Chronology
B)Style=look :way art was done in a certain period.
- Medium
- light
-subject matter
C) Contextual- art- society |
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Term
| Martin says in chapter one: “Rubens and Bernini may speak for the Baroque”. Is this accurate? |
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Definition
this is wrong, they can’t speak for the entire time period. What about Puessan or Rembrant etc.?
- there is just so much diversity that you can’t define what is “THE Baroque”- account more of what we talked about last time= the seven things. |
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Term
Mckirahan said that the meat of martin's chapter one included this line -”but to define Baroque matter is an impossible task”
though martin does try to clarify the main “diverse characteristics of the Baroque” What are those characteristics categorized into? |
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Definition
realism=*Dutch,
imagery= Romanism,
agless classicism =of Louis XIV(14)
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Term
| How did the French academy deal with the classic versus romantic debate? |
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Definition
They divided themselves into two groups: Poussin-classic, Rubens-romantic.
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Term
How did martin author set up his approach based on style?
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Definition
He categorized the approach based on style as:
Realistic,
Dynamic, &
Classical.
-leaves out Dutch- they look least like anyone else in terms of style
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Term
Remember Desiderio and Dilletto: Vision, Touch, and the Poetics of Bernini’s Apollo and Daphne? What was the core of that essay that we talked FOREVER about?
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Definition
“paradox is at the heart of the groups meaning.”
- vision and touch-appealing to the senses-common theme of the Baroque
Sculpture being the truth because it is certain knowledge through the sense of touch.
-allegory (seems to be about one thing but is actually about another)
- Paradox realted to the allegory.
- 316- Vanitas- Daphna’s feeling form also related to the time-bound beauty of all pleasures relating to the senses.
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Term
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Definition
catagory:1600-1635
ARTIST: Caravaggio NAME: Calling of St. Matthew DATE: 1600 |
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Term
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Definition
1600-1625 group.
AUTHOR: Rubens
TITLE: Raising of the Cross
DATE: 1610 |
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Term
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Definition
1600-1625 group
ARTIST: Gentileschi
TITLE: Judith slaying Holofernes
DATE: 1612 |
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Term
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Definition
1600-1635
ARTIST: Jan Brueghel
TITLE: Animals Entering Noah's Ark
DATE: 1613 |
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Term
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Definition
1600-1625 group
ARTIST: Rubens
TITLE: Rape of the Daughters of Leucippus
DATE: 1616 |
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Term
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Definition
1600-1625 group
ARTIST: Bernini
TITLE: Apollo and Daphne
DATE: 1622-25 |
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Term
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Definition
1626-1650 Group
ARTIST: van Dyck
TITLE: Self Portrait with Sunflower
DATE: 1633 |
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Term
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Definition
1626-1650 group
ARTIST: Gentileschi
TITLE: Birth of John the Baptist
DATE: 1635 |
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Term
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Definition
1626-1650 group
ARTIST: Pietro da Cortona
TITLE: Allegory of Divine Providence
DATE: 1639 |
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Term
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Definition
1626-1650 group
ARTIST: Poussin
TITLE: Rape of the Sabines
DATE: 1645 |
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Term
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Definition
1626-1650 group
ARTIST: Bernini
TITLE: Ecstacy of St. Theresa
DATE: 1645-52 |
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Term
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Definition
1626-1650 group
ARTIST: Rembrant
TITLE: Supper at Emmaus
DATE 1648 |
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Term
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Definition
1626-1650 group
ARTIST: Rubens
TITLE: Venus and Adonis
DATE: 1655 |
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Term
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Definition
(1651-1675 group)
ARTIST: Valazquez
TITLE: Las Meninas
DATE: 1656-57 |
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Term
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Definition
(1651-1675)
ARTIST: Rembrant
TITLE: WOman with Carnation
DATE: 1665 |
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Term
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Definition
BERNINI,
APOLLO AND DAPHNE |
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Term
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Definition
BERNINI,
beata ludociva albertoni |
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Term
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Definition
BERNINI
Equestrian statue of Louis the X1V |
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Term
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Definition
BERNINI
The Rape of Persephone |
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Term
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Definition
BERNINI
The Throne of St Peter |
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Term
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Definition
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Term
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Definition
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Term
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Definition
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Term
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Definition
BERNINI
Bust of Gabrielle Fonseca |
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Term
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Definition
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Term
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Definition
BERNINI
Long view of Theresa |
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Term
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Definition
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Term
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Definition
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Term
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Definition
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Term
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Definition
BERNINI
Tomb of Alexander the great |
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Term
| *BERNINI was the influential dictator of what palace and through what authority figure? |
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Definition
| Bernini is connected with Louis the 14th and the palace of Versai- he is reffered to as the influencial dictator- his style becomes almost universal in this time period. |
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Term
| **who is connected with the Cornaro Chapel? |
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Definition
| Bernini With the Ecstasy of St. Theresa |
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Term
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Definition
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Term
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Definition
| RUBENS, Descent from the cross |
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Term
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Definition
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Term
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Definition
| RUBENS, Rape of the Daughters of Leucippus |
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Term
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Definition
RUBENS,
The Martydrom of St. Livinus |
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Term
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Definition
| RUBENS, Landscape with Rainbow |
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Term
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Definition
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Term
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Definition
| RUBENS, Raising of the Cross |
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Term
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Definition
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Term
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Definition
| RUBENS, The miracle of st. Francis |
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Term
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Definition
| RUBENS, Victory of the Eucharistic Truth |
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Term
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Definition
| RUBENS, Toilette of Venus |
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Term
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Definition
| CARRAVAGGIO, Bacchus- 1596 |
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Term
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Definition
| CARRAVAGGIO, Basket of Fruit- 1596 |
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Term
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Definition
| CARRAVAGGIO, Boy Bitten By Lizard- 1600 |
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Term
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Definition
| CARRAVAGGIO, The Calling of St. Matthew- 1600 |
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Term
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Definition
| CARRAVAGGIO- Conversion of St. Paul- 1601 |
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Term
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Definition
| CARRAVAGGIO- Crucifixion of St. Peter |
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Term
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Definition
| CARRAVAGGIO- Death of the Virgin- |
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Term
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Definition
| CARRAVAGGIO- The Deposition |
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Term
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Definition
| CARRAVAGGIO- The Madonna of Loreto |
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Term
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Definition
| CARAVAGGIO- Martyrdom of St. Matthew |
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Term
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Definition
| CARAVAGGIO- St. Matthew with Angel- |
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Term
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Definition
| CARAVAGGIO- Supper at Emmaus- |
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Term
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Definition
| CARAVAGGIO- The Musicians- 1596 |
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Term
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Definition
| CARAVAGGIO, DAvid And Goliath- 1603 |
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Term
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Definition
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Term
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Definition
| CARAVAGGIO- Amor Victorious |
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Term
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Definition
| CARAVAGGIO- Virgin and Child With St. Anne- |
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Term
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Definition
| CARAVAGGIO, Doubting THomas- |
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Term
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Definition
| CARAVAGGIO- Judith & Holofernes |
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Term
| What are Caravaggio's major characteristics? |
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Definition
| Strong use of light-Theatrical-contrast, Naturalism-painted what he saw (made ordinary people into gods instead of the other way around, Coextensive space mostly religious, high detail, seldom has background, operatic quality, interest in everyday people. |
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Term
| Who connects with the Contarelli Chapel? |
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Definition
| Carravaggio with the calling of St. Matthew |
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Term
| In class we talked about 4 types of transitions in the Baroque period. What were they? |
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Definition
1- Transition from South(Italian,French,Spain) to North(Dutch)
2- Light
3- Caravaggio transition to dutch style- binding the styles together with light-more detailed-classic-high level of finish.
4- Subject matter- French academy founded objectives |
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Term
| In terms of classicism and romanticism what are Caravaggio and Rembrant? WHY? |
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Definition
| Carravaggio-classic, more detailed, high level of finish. REmbrant, Romantic (dutch), sketchy |
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Term
| What were the two objectives of The French Royal Academy |
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Definition
-Art school- to teach and make artists
-Set standards based on subject matter |
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Term
| What was the French Academies' order of standards in paintings due to subject matter? |
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Definition
**1. History/religeous 2. portrait. 3. landscape. 4. genre (transition 1650 to after- italian to dutch- everday life)
5. still life |
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Term
| What level of paintings does Rembrant do according to the French Academy? |
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Definition
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Term
| Who were the 7 artists inspired by Caravaggio? |
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Definition
| Genteleschi, Georges de la Tourm Jose Ribera, Louis le nain, Velazquez, Zurbaran, Rembrant |
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Term
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Definition
| Gentileschi, Judith and Maidservant |
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Term
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Definition
| Gentileschi, Mary Magdelene |
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Term
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Definition
| Genteleschi, Judith and Holofernes |
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Term
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Definition
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Term
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Definition
| GEORGES DE LA TOUR, Mary Magdaline |
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Term
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Definition
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Term
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Definition
| GEORGES DE LA TOUR, Joseph the carpender |
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Term
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Definition
| JOSE DE RIBERA, Club Foot |
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Term
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Definition
| JOSE DE RIBERA, Drunken Saitre |
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Term
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Definition
| JOSE DE RIBERA, The martyr of St. Bartholomul |
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Term
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Definition
| LOUIS LE NAIN, Happy Family |
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Term
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Definition
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Term
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Definition
|
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Term
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Definition
| DIEGO VELAZQUEZ, Las Mininas |
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Term
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Definition
| DIEGO VELAZQUEZ, Juan de Pareja |
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Term
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Definition
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Term
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Definition
| FRANCISCO DE ZURBARAN, Monk |
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Term
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Definition
| FRANCISCO DE ZURBAREN, St. Francis |
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Term
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Definition
| REMBRANT, The money changer |
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Term
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Definition
| Rembrandt, rembrandt's mother |
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Term
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Definition
| REMBRANDT, Summer Emmaus - 1631 |
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Term
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Definition
| REMBRANDT, Return of the Prodigal Son - 1668/69 |
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Term
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Definition
| REMBRANDT, Woman on a mound - 1631 |
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Term
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Definition
| REMBRANT, Portrait of Saskia as Goddess Flora- 1634 |
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Term
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Definition
| REMBRANT, Self-portrait (there are multiples like this) -1629 |
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Term
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Definition
| REMBRANT, Bathsheba with King David's Letter, 1554 |
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Term
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Definition
| REMBRANDT, Portrait of Jan Six |
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Term
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Definition
| REMBRANDT, Portrait of Woman Bathing in steam- 1654 |
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Term
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Definition
| REMBRANDT, The night watch- 1642 |
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Term
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Definition
| Rembrandt, The Sundics - 1662 |
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Term
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Definition
| REMBRANT, Late Self portrait (many of these also) |
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Term
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Definition
|
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Term
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Definition
| REMBRANDT, Girl With broom - 1640 |
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Term
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Definition
| REMBRANDT- The blinding of Samson- 1638 |
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Term
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Definition
| REMBRANDT, Christ healing the sick - 1639 |
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Term
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Definition
| REMBRANDT, Peter denying Christ - |
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Term
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Definition
| REMBRANDT, Descent from the Cross -1633 |
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Term
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Definition
| Rembrandt, Painting of homer - 233 |
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Term
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Definition
| REMBRANDT, Aristotle contemplating the bust of homer- 1653 |
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Term
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Definition
| REMBRANDT, Women with Carnation - 1665 |
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Term
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Definition
| REMBRANDT, (?) Officer with Gold chain- 1630 |
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Term
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Definition
| REMBRANDT, Anatomy lesson of Nicholas Tulp - 1632 |
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Term
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Definition
| REMBRANDT, THe holy family - 1645 |
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Term
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Definition
| REMBRANDT, Winter Scene -1646 |
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Term
|
Definition
| REMBRANDT, The Mill - 1650 |
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Term
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Definition
| REMBRANDT, The polish Rider - 1655 |
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Term
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Definition
| REMBRANDT, Side of Beef - 1655 |
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Term
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Definition
| REmbrandt - Self portrait |
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Term
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Definition
| REMBRANDT, The 3 Crosses 1653 |
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Term
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Definition
| REMBRANDT, The three trees |
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Term
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Definition
| Carracci- Farnese Ceiling Fresco 1597-16902 |
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Term
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Definition
| CARRACCI- Assumption of the Virgin Mary |
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Term
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Definition
| Caracci- Flight into Egypt- first landscape? |
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Term
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Definition
| Gaulli - Triumph in the Name of Jesus |
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Term
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Definition
|
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Term
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Definition
|
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Term
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Definition
| PIETRO, Allegory of Divine provence |
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Term
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Definition
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Term
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Definition
|
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Term
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Definition
|
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Term
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Definition
| POUSSIN, Babtism of Christ |
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