Term
[image] The Tribute Money |
|
Definition
Mosaccio 1425 Barnacci Chapel Fresco - All Stand in Contraposto
- Focus on Atmospheric Perspective
- Use of continuous narrative
|
|
|
Term
[image] The Expulsion from Paradise |
|
Definition
Mosaccio 1425 Barncacci Chapel Fresco - Bodies in motion that convery deep emotional poses
- Little room for spacial setting due to the size of the fresco. Howeverm the hills and the partial gate to paradise seem to create an atmosphere that is infinite.
- Striking power of the human nudity
|
|
|
Term
Madonna Enthroned (Center Panel of Triptych) |
|
Definition
Mosaccio 1425 Tempera on Panel Pisa - Part of a triptych that has been separated and dispersed.
- Convincingly human Christ child
- Pay attention to the gold background, the madonna's blue gown, the halo's behind the virgin, child, and angels. Very traditional elements to this illustration.
- Grapes refer to the wine offered at the end of christian masses.
- Abundance of light hitting upon the skin of the figures - references the sun.
|
|
|
Term
[image] The Sacrafice of Isaac |
|
Definition
Fillipo Brunelleschi
1401-1403 gilt bronze relief - skill at rendering the human form, observance of natural details
- combines movement, focus, and narrative.
- note the brutality present in the scene.
|
|
|
Term
|
Definition
Donatello 1410-1417 Marble - shallow niche makes the figure seem to step out of the space.
- stance suggests he is ready for combat
- eyes seem to be scanning the horizon for enemies. reflects his stance which is not stiff but rather fluid and prepared for action. psychological intensity is something to point out
- below the figure is a narrative surrounding st george's best known exploit - the slaying of the dragon.
- Relief below the figure is called schiacciato - meaning "flattened out" or very shallow relief.
- not in a relaxed contraposto pose
|
|
|
Term
|
Definition
Donatello 1411-1413 Marble - figure is 8 feet high - reflects heirarchy of scale
- holding his gospel in hand
- articulated sculpture very capable of movement - much like the stance in St. George - readyfor action or battle.
- emphasis on naturalistic form, the independence of body and drapery, and psychological presence. Think back to the Doryphoros from Rome. Classical elements to sculpture.
|
|
|
Term
|
Definition
Nanni de Banco 1409-1416/17 Marble San Michele, Florence - represents 4 christian sculptures who were executed for refusing to carve a pagan statue ordered by a roman emperor.
- life sized saints seem to be discussing impending fate
- emulate the roman versitic style - truth and age reflect wisdom and grandeur.
|
|
|
Term
|
Definition
Gentile de Fabriano 1423 Tempera on Panel - characteristics of the international gothic style
- Predella - base of the altarpiece
- radiates elegance
- common subject in italy
- 3 very rich men granted salutation
- halos
- made with real gold relief
- lapis blue
- fully cloaked virgin
- Magis have gold halos and on parts of the costumes
- Magis are from the world
- exotic animals in drawing
- similar styles to illuminated manuscripts
- uses old fashion stacked perspective
- foreshortened bodies
|
|
|
Term
|
Definition
Mosaccio 1425 Fresco Santa Maria Novella - holy figures established within the frames of the fresco
- creates heirarchy
- viewer outside
- donors closer
- holy inside the frame
- "Of that which I am, I will become"
|
|
|
Term
|
Definition
Donatello 1425 Gilt Bronze Siena Cathedral - similar design to gilberttis
- not as refined as gilberttis
|
|
|
Term
[image] The Equestrian Monument of Gattamelata |
|
Definition
Donatello 1445-1450 Bronze Piazzo del Santo, Pradua
|
|
|
Term
|
Definition
Lorenzo Ghiberti 1425 Gilt Bronze Baptistry of San Giovanni - 25 years to complete
- larger panels than quatrafoils
- specific panel: blessing of jacob
- set upon a palacial backdrop
- different scenes on one panel
- one point perspective
|
|
|
Term
The Story of Jacob and Essau |
|
Definition
Lorenzo Ghiberti 1435 Gilt Bronze Panel of the Gates of Paradise, Baptistry of San Giovanni, Florence
|
|
|
Term
|
Definition
Luca Della Robbia 1442-1445 Glazed Terracotta - popularized the object
- made it cheap
|
|
|
Term
|
Definition
Donatello 1430-1459 Polychrome and gold on wood - willingness to approach the ugly
- doesn't beautify the saint
- makes her more realistic - reminiscent of the roman veristic style
- element of wisdom and experience depicted in the figure
|
|
|
Term
[image] The Doubting of Thomas |
|
Definition
Andrea del Verrocchio 1467-1483 Bronze San Michele, Florence
|
|
|
Term
|
Definition
Donatello 1420s-1460s Bronze - slightly under life size
- first example of nudity in free standing sculpture since antiquity
- heroic nudity
- in the bible
- an excuse to cast sculpture
- youth makes the sculpture androgenous
- pay attention to the feminity or homoeroticism present in the sculpture.
|
|
|
Term
|
Definition
Antonio del Pollaiuolo 1475 Bronze - bronze allows for more expansive posture
- represents mythological characters in the nude
- calls back to Greek times
|
|
|
Term
|
Definition
Paolo Uccello 1438 Tempera and silver foil on wood panel
|
|
|
Term
|
Definition
Botticelli 1482 Tempera on Panel
|
|
|
Term
|
Definition
Botticelli 1485 Tempera on Panel
|
|
|
Term
|
Definition
Pierro della Francesca 1463 Fresco |
|
|
Term
Double Portrait of Battista Sforza and Fredrico da Montefaltro |
|
Definition
Piero della Francesca 1472 Oil and tempura on panel
|
|
|
Term
|
Definition
Piero della Francesca 1472-1474 Oil on panel
|
|
|
Term
|
Definition
Andrea Mantegna 1450s Tempera on panel - humanist painter
- man on horseback in the clouds
- human propensity
- immitation vs invention of nature
- creative immagination
|
|
|
Term
[image] Oculus (ceiling fresco) |
|
Definition
Andrea Mantegna 1465-1474 Fresco Ducal Palace, Mantua |
|
|
Term
[image] Equestrian Monument of Colleoni |
|
Definition
Verrocchio 1483-1488 Bronze 13' high
|
|
|
Term
|
Definition
Pietro Perugino 1482 Fresco Sistine Chapel, Vatican Palace, Rome
|
|
|
Term
|
Definition
Leonardo Da Vinci 1481-1482 Monochrome on panel
|
|
|
Term
|
Definition
Leonardo Da Vinci 1510 Detail of Pen Drawing - first glimpse into the womb
- LDV liked to disect - a true renaissance man
- reflection of his capabilities
- LDV was an intellect and his desire to learn was insurmountable
|
|
|
Term
|
Definition
Leonardo Da Vinci 1487 Pen and ink on paper - drawing
- nude
- symetry/circle
- geometric focus
- human body can be inscribed within a circle and square at the same time
- almost like a puzzle
- 2 midpoints - belly and penis
- divine proportions - god created man in his own image (genesis), harmon and ideality of the human figure
|
|
|
Term
|
Definition
Leonardo Da Vinci 1490 pen drawing on paper - LDV as architect
- Arches, domes, vaults, apses
- very classical in style
- Codes? Probably not - he wrote backwards.
|
|
|
Term
|
Definition
Leonardo Da Vinci 1485
Oil on panel transferred to canvas - Sfumatto
- presence of Saint John the Baptist
- discuss mystical atmosphere - most likely not realistic
- figures form a pyramid
- focus on shadows rather than contour lines
- chiarascuro - focus on light and dark areas
|
|
|
Term
|
Definition
Leonardo Da Vinci 1495-1498 Tempera Wall Mural - one point perspective
- jesus is an equilateral triangle
- 4 groups of three
- range of reaction and emotions
- different expressions suggest individuality
|
|
|
Term
|
Definition
Leonardo Da Vinci 1503-1505 Oil on Panel |
|
|
Term
|
Definition
Piero della Francesca - linear perspective
- moves actual scene to the background
- foreground = 3 unidentified men in contemporary dress
- chronological distortion
- eloquent with mystery
|
|
|
Term
[image] Marriage of the Virgin |
|
Definition
Pietro Perugino 1499
- lines of recession
- focal point = door
- strong verticle axis
- priest = house of god
- horizon line on the door
- rigid foreground
- women right / men left
- altarpiece painting
- wedding ring of the virgin was the chapel's relic
|
|
|
Term
[image] Battle of Ten Nude Men |
|
Definition
Antonio Pollaiuolo 1465-1470 engraving |
|
|
Term
|
Definition
Domenico Veneziano 1450 Fresco
|
|
|
