Term
|
Definition
Title: The Last Supper
Artist: Leonardo da Vinci
Date:1495-98
Medium: Tempera and oil on plaster (intonaco)
Extra
-For the refectory (dining hall) of Duke Ludovico Sforza of Milan
-3 groups of 4 disciples (Judas, Peter, John the Evangelist all played important roles and are in the same grouping)
-Jesus is shown as pyramid-shape in center, exhibiting a calm demeanor in spite of chaos
-Intonaco has deteriorated and door was cut into bottom
|
|
|
Term
|
Definition
Title: Virgin & St. Anne with the Christ Child
and the Young John the Baptist
Artist: Leonardo da Vinci
Date: c. 1500
Medium: Charcoal heightened
with white on brown paper
Extra
-May be a cartoon, but no known painting has been associated
-Illusion of high relief by modeling figures with chiaroscuro
-emphasizes complex interaction/circular movements
-displays individual/connected importance of each figure |
|
|
Term
|
Definition
a full-scale drawing used to transfer the
outline of a design onto a surface
(ex: wall, canvas, panel, tapestry, etc)
to be painted, carved or woven
ex: Leonardo da Vinci's Virgin & St. Anne
with the Christ Child and the Young John the Baptist |
|
|
Term
|
Definition
an Italian word designating the contrast of dark and light in a painting, drawing or print; it creates spacial depth and volumetric forms through gradations in the intensity of light and shadow
ex: Leonardo da Vinci's Virgin & St. Anne
with the Christ Child and the Young John the Baptist |
|
|
Term
|
Definition
Title: Mona Lisa
Artist: Leonardo da Vinci
Date: c. 1503-06
Medium: Oil on Wood Panel
Extra
- Half-length figure rather than traditonal upper torso only
- Enigmatic smile, mysterious, flirtatious
- Leonardo didn't deliver the painting, kept it
- Use of sfumato to give a smoky haze
- Leonardo thought dusk was the finest time of day because it naturally gives off that kind of light
|
|
|
Term
|
Definition
| Italian term meaning "smoky", soft, and mellow; in painting, the effect of haze in an image; resembling the atmosphere of dusk, giving a smoky effect |
|
|
Term
|
Definition
Title: Vitruvian Man
Artist: Leonardo da Vinci
Date: c. 1490
Medium: Ink
Extra
- Takes into account Vitruvius' De architectura
description of the proportions of the ideal male figure
|
|
|
Term
|
Definition
Title: The Small Cowper Madonna
Artist: Raphael
Date: c. 1505
Medium: Oil on Wood Panel
Extra
- Reflects Leonardo's influence
- producing simple grandeur with monumental shapes
- pyramid-shape of mother and spiraling infant
- figure-enhancing draperies of Virgin
- Figures softened through the light of the outdoor scenery |
|
|
Term
|
Definition
Title: Stanza della Segnatura (Room of the Signature)
Artist: Raphael
Date:1510-1511
Medium: Fresco
Extra
- Intended to be Pope Julius II's library/study
- Julius II thought human knowledge existed under power of divine wisdom
-individual walls represented religion (Disputa), philosophy (School of Athens), poetry (Parnassus), and law (the Cardinal Virtues under Justice)
- Rival Michelangelo was working on Sistine Chapel ceiling at same time
|
|
|
Term
|
Definition
Title: School of Athens
Artist: Raphael
Date: c. 1510-1511
Medium: Fresco
Extra
- Plato (center-left) has hand pointed up: the "ideal" is impossible to obtain on earth
- Aristotle (center-right) has hand pointed down: gather empirical knowledge of material world
- Uses view from trompe l'oeil arch
- the artist and other High Renaissance figures may be depicted
|
|
|
Term
|
Definition
Title: Pieta
Artist: Michelangelo
Date: c. 1500
Medium: Sculpture in Marble
Extra
- Only thing Michelangelo signed
- Youthful virgin shows beauty through closeness to God
- Pieta = "pity" as Mary mourns Jesus, rather than lamenation scenes (Mary with others)
- Commissioned by French cardinal for tomb monument in St. Peter's Basilica
|
|
|
Term
|
Definition
Title: David
Artist: Michelangelo
Date: c. 1501-04
Medium: Sculpture in marble
Extra
- Frown/stare indicates he is readying himself psychologically for danger ahead in battle (unlike Donatello's, who looks heroic AFTER defeat)
- Heroic stature enforces supremacy of "right" over "might"
- Originally on buttress of Florence Cathedral outside Palazzo della Signoria |
|
|
Term
|
Definition
Title: Sistine Chapel Ceiling
Artist: Michelangelo
Date: c. 1508-12
Medium: Fresco
Extra
- "Sistine" for builder, Pope Sixtus (Sisto) IV
- Frescoes commissioned under Pope Julius II
- Limitations for Michelangelo started out strict, but decreased over time
- Subdivided ceiling
Perimeter: Prophets/Sybils
Triangles: Jesus' ancestors
Middle: Narrative of Creation to Post-Flood
Starts over alter, ends near chapel entrance
Strangely painted in reverse order
Corners: Old Testament |
|
|
Term
|
Definition
Title: Creation of Adam, Sistine Chapel Ceiling
Artist: Michelangelo
Date: c. 1511-12
Medium: Fresco
Extra
- Adam was created in the likeness of God
- God (outstretched/active) is giving Adam (limp hand) the "spark of life" |
|
|
Term
|
Definition
Title: Moses
Artist: Michelangelo
Date: c.1513-16, 1542-45
Medium: Sculpture in marble
Extra
- Originally tomb for Julius II, but wasn't finished by his death
- End result is only 1/4 of original design (4 seated prophets)
- Moses, although seated, looks like a man of action
- he's holding tablets from Mt. Sinai (God's Testaments)
- drapery and flowing beard overflow niche |
|
|
Term
|
Definition
Title: Tempietto (Little Temple)
Church of San Pietro in Montorio
Artist: Donato Bramante
Date: c. 1502-10, restored 17th century
Extra
- Commissioned by Isabella and Ferdinand of Spain
- Located in Rome, over where the apostle Peter was believed to have been crucified
- Centralized plan, tall drum supporting hemispherical dome
like martyria and Roman circular temples
-Deep wall niches show dark/light contrasts
|
|
|
Term
Evolution of St. Peter's Basilica |
|
Definition
4 Century: Old St. Peter's Basilica (over St. Peter's remains)
- Constantine commissioned
- Transept to accomodate many
- Walls of followers
1504: Plans by Bramante
- Greek cross, all sides equal = perfection of God
- Old demolished and new commissioned by Pope Julis II
- Death of Julius II and Bramante before completion
1546-64: Plans by Michelangelo
- Simpler, but maintains Greek cross
- Giacoma della Porta gives dome taller profile
1607-12: Plans by Maderno
- Latin cross extends nave, provides more room for congregation
- Commissioned by Paul V during Counter-Reformation
- Gianlorenzo Bernini adds enormous piazza later in century
- 20th Century: wide avenue connects piazza and Tiber River
|
|
|
Term
|
Definition
| In Christian architecture, a church, chapel, or shrine built over the grave of a martyr or the site of a great miraclue |
|
|
