Term
| 1. Maarten van Heemskerck, Michelangelo’s Bacchus in the Garden of the Galli House in Rome, 1532-1535, Rome |
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Definition
Drawing of Michelangelo's work. Made it look more antique (cut off arm, etc)
equating the value of his work to those of the ancients |
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Term
| 2. Michelangelo, Bacchus, 1496-97, Rome |
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Definition
First modern work in antique genre. Rome. revival of sculpture in the round (not in a niche)
dead weight that halds itself up.
shows that he's tipsy:
cup in the way fo his face
playful
satyr eating/stealing grapes
slightly leaning back |
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Term
| 3. Bernini, Baldacchino over tomb of St. Peter, 1623-34, Rome |
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Definition
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Term
| 4. Bramante, Plan for St. Peter’s, 1506, Rome |
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Definition
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Term
| 5. Caradosso, Medal commemorating rebuilding of St. Peter’s, 1506, Rome |
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Definition
When broke ground on Bramane's plan for St. Peter's, the Pope Minted a commemorative medal to be used as diplomatic exchange.
Tail side, showswhat te facade of St. Peter's was supposed to look like
The two belltowers marked two endposts of circus track, where Peter was thought to be crucified.
Symetrical, full of half domes. |
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Term
| 6. Martin van Heemskerck, View of Nave of Old St. Peter’s with Construction of New St. Peter’s, 1534, Netherlandish artist in Rome, drawing |
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Definition
First manifestation of "wedding cake colonade"
Change in scale: 1 giant story instead of several smaller stories.
Pilasters and columns: capitals are copying the Pantheon exactly
emphasize history. |
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Term
| 7. Michelangelo, Apse of St. Peter’s (exterior), 1546, Rome |
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Definition
Collosal order (cuts through several stories)
Scale matches that of the inside
pattern and symmetry (windows), but more complex and interesting facade. |
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Term
| 8. Michelangelo, Pietà, 1498-1499, Rome |
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Definition
Uses ideal antique body (pumped up)to express the grandure of Christ and his heroism.
there is tension, but not dead weight.
his legs seem to be floating
idealized Mary's body.
Mary symbolizes the church
the axis that supports Christ/The church
Realizes her premonition (from the nativity) came true[Youthful face as a connection to these two moments] |
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Term
| 9. Michelangelo, Holy Family (a.k.a. Doni Tondo), 1503-1504, Florence |
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Definition
nudi (naked guys hanging out in the back)
Angels?
Old pagan order, which is superceded by new order (Christ)
John the Baptist in the middle, speaking to old order about comming new order.
Frame: Heads of sibyls (famous figures who prophesized)
Weird composition (awkward pose of Mary) |
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Term
| 10. Michelangelo, Entombment, 1500-1501, Rome |
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Definition
Right after Pieta, the moment of separation/great pathos.
Puts us in Mary's position (her back toward us), Mary is a Model of you.
Heroic body of Jesus
Composition enables Michelangelo to use man of sorrows explicitly. |
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Term
| 11. Michelangelo, Pietà, 1538-1540, Rome |
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Definition
| Drawing, gift to Michelangelo's friend. Between knees, connection tot he Nativity. |
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Term
| 12. Michelangelo, Bruges Madonna, 1503-1506, Florence |
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Definition
| Puts Jesus between her knees as a reminder of his origins, of his birth. |
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Term
| 13. Michelangelo, Pietà, c.1547-1555, Rome |
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Definition
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Term
| 14. Michelangelo, Rondanini Pietà, 1564, Rome |
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Definition
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Term
| 15. Michelangelo, David, 1501-1504, Florence |
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Definition
contemporary with Rome Pieta.
Made from a very oddly shaped block of stone.
contest as to who can make the best statue from this weird stone |
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Term
| 16. Michelangelo and others, Sistine Chapel, c.1479-1541, Vatican |
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Definition
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Term
| 17. Perugino, Christ Giving the Keys to Saint Peter, c.1480-1482, Vatican, Sistine Chapel |
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Definition
Important episode in the life of Christ.
Not a coincidence:
hands off leadership role to Peter, Pope is successor
Speaking to allies and enemies about his power |
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Term
| 18. Raphael, The Miraculous Draught of Fishes, 1515, Vatican |
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Definition
Made a design, gave it to a weaving workshop.
tapestries had a big role in the renaissance.
VERY VERY expensive (5x $ paid to Michelangelo for painting the entire ceiling)
Pained in gauche
painted up as a work |
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Term
| 19. Raphael (designer), The Miraculous Draught of Fishes, c.1519, Brussels |
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Definition
Made a design, gave it to a weaving workshop.
tapestries had a big role in the renaissance.
VERY VERY expensive (5x $ paid to Michelangelo for painting the entire ceiling)
made from very fine material, very small weave (a lot more stiches) |
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Term
| 20. Michelangelo, Scenes from the Old Testament, Prophets and Sibyls, Ancestors of Christ, 1508-1512, Vatican, Sistine Chapel |
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Definition
| less monumental as you progress from noah to God the father. |
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Term
| 21. Michelangelo, Scenes from the Old Testament, Prophets and Sibyls, Ancestors of Christ (detail), 1508-1512, Vatican, Sistine Chapel |
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Definition
God streched out in glory, taking up space.
figure wearing an oak/acorn garland:
oak symbolized Jullius II(warrior pope w/allies and enemies) family
cloes to the roundel which pertained to the maccabees. |
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Term
| 22. Michelangelo, Scenes from the Old Testament, Prophets and Sibyls, Ancestors of Christ (detail), 1508-1512, Vatican, Sistine Chapel |
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Definition
| Adam's body, very plastic, chiaroscuro. emphasize on design/line in God & Adam scene. |
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Term
| 23. Michelangelo, Scenes from the Old Testament, Prophets and Sibyls, Ancestors of Christ (detail), 1508-1512, Vatican, Sistine Chapel |
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Definition
shows the consequences of sin with Noah's flood
Noah streched out in anti-glory. |
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Term
| 24. Michelangelo, Scenes from the Old Testament, Prophets and Sibyls, Ancestors of Christ (detail), 1508-1512, Vatican, Sistine Chapel |
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Definition
Jonah right above the altar.
watching God separate light and dark.
represents jesus (he "dies" for 3 days in the fish then get spit out.
represnts "resurection" of all souls and end of the world.
connects last judgement and creation. |
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Term
| 25. Michelangelo, Last Judgment, 1536-41, Vatican, Sistine Chapel |
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Definition
All of the sistie chapelle comes together
Ideal, "uber" body
divided into sections
martyred saints & all the heavenly host
left: people emeging fromt heir graves, souls arrive, pulled up to Jesus
right: souls being pulled down to hell. scared,
Ornage firey pit: hell.
Being pushed out of boat, minos in charge (influenced by Dane's Inferno.)
bartholemew: fairly central
holding a knife & his skin (which is held @ heavenly level, but drooping down to earth)
skin is Michelangeo, and barty is Arotino (critic that "flayed" Michelangelo during creation of last judgement.
expression of humility |
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Term
| 26. Melozzo da Forli, Sixtus IV Appoints Prefect of the Vatican Library, c.1477, Vatican Palace |
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Definition
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Term
| 27. Raphael, School of Athens, 1508-1511, Vatican Palace |
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Definition
Philosophy.
Plato, pointing up, Aristotle pointing down. both facing front, full-on.
independant figures. (everyone else are in clumps together)
architecture: limits of philosophy
small bits of sky: "clarity" |
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Term
| 28. Raphael, Disputa, 1508-1511, Vatican Palace |
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Definition
Theology.
4 fathers of the church (4 gosples by the holy spirit)
lots fo circles (God, around Jesus, Holy Spirit, Eucharist, cloud, group on bottom)
***Eucharist is prominent because it is the bridge between this world and the divine***
Eucharist is the focal point (vanishing point)
Gregory is looking at the eucharist.
Jerome is loking at the word of God. |
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Term
| 29. Raphael, Parnassus, 1508-1511, Vatican Palace |
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Definition
Poetry.
Muses with apollo
Epic poets
lyrical poets
conemporary poets
Dante is present, and he is also depicted in "theology" (disputa) |
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Term
| 30. Raphael, Fortitude, Prudence, and Temperance with Emperor Justinian and Pope Gregory IX, 1508-1511, Vatican Palace |
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Definition
Jusitce.
puts justinian in a good light |
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Term
| 31. Raphael, Expulsion of Heliodorus, 1511-1514, Vatican Palace |
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Definition
mounted man appeared wiht two attendants.
sense of "boom" or "poof" because of the shadow placement. |
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Term
| 32. Raphael, Freeing of Peter, 1511-1514, Vatican Palace |
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Definition
| playing of light and darkness. |
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Term
| 33. Raphael, Repulse of Attila, 1511-1514, Vatican Palace |
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Definition
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Term
| 34. Raphael, Mass at Bolsena, 1511-1514, Vatican Palace |
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Definition
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Term
| 35. Raphael and workshop, Coronation of Charlemagne, 1514-1517, Vatican Palace |
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Definition
similar to confirmation of saint francis.
(generation of children, wishing for the next generation what hapened to the first.)
collapsing of front back and middle |
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Term
| 36. Raphael and workshop, Fire in the Borgo, 1514-1517, Vatican Palace |
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Definition
miracle: fire consuming everything, Pope puts it out.
complex composition
people gesturing forward
reference ot miracle of saint francis (st. francis above in center performing miracle, also the baby being handed down over the wall)
sense of frenzy through the diversity of paths.
each person has an important emotional role. |
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Term
| 37. Raphael, Loggia di Psyche, 1518, Rome, Villa Farnesina |
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Definition
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Term
| 38. Michelangelo, Tomb of Giuliano de’Medici , 1519-33, Florence, San Lorenzo |
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Definition
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Term
| 39. Michalengelo, Tomb of Lorenzo de’Medici, 1519-33, Florence, San Lorenzo |
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Definition
Day and night
Lorenzo "il Magnifico"
Night has an owl, and many ripples in her abdomen to show that she has given birth to day many times. |
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Term
| 40. Michelangelo, New Sacristy [a.k.a. Medici Chapel], 1519-33, Florence, San Lorenzo |
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Definition
Windows trapazoidal to exaggerate the perspective.
squeezing effect
lots of planes, so you dont really know what's the actual wall, what's receding and what's protruding.
inversion of support: porbles UNDER columns/pilasters. appears unstable. |
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Term
| 41. Giulio Romano, Palazzo del Te, c.1525-35, Mantua |
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Definition
On the outskirts of Mantua.
plays witht he logic of the classical order.
pieces of the antablature "falling" out
huge keystone up to top of pedement.
forces have become unstable/uneven and things are being "squeezed" out.
appeals to the elite, because they are "inside on the joke" |
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Term
| 42. Jacoopo Pontormo, Madonna and Child with Saints (a.k.a. Visdomini Altarpiece), 1518, Florence |
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Definition
baby not in the center.
St. Francis is huge!
almost everyone is painted in profile. thier unseen halves are hidden in a murky dark background.
mannerism: importance of complex composition. |
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Term
| 43. Rosso Fiorentino, Moses Defending the Daughters of Jethro, 1523-24, Florence |
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Definition
little emphasis on faces
weird depth
complex composition
no rational sense of space
guy on left looks liek God from the creation man in sistine chapel. |
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Term
| 44. Rosso Fiorentino, Dead Christ with Angels, 1524-27, Rome |
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Definition
Christ at momen of resurection.
biger than the space, squeezed into the canvas, stuffed into short shallow space.
used man of sorrows
"no" gentals, becuase God transends gender
cave door opening because of candle thing. |
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Term
| 45. Parmigianino, Self-Portrait in a Convex Mirror, 1524, Rome |
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Definition
clearly recreates the situation of self portraiture.
left hand so big it hides left hand
wearing refined clothing (showing that art is more head than hand)
transmission form head to hand
"instantaneous" |
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Term
| 46. Benvenuto Cellini, Salt Cellar of Francis I, 1540-43, France |
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Definition
enlongated female nude.
luxury materials combined with elegance of form.
to cellini, sculpture>painting
fancy tableware.
salt: domestic. important source of revenue (tax). Neptune (God of the sea, salt comes from the sea) he's footing between pepper's egs, symbolizes how water penetrates the Earth (rivers, etc)
pepper: exotic, import form the east. Cybelle, (goddess of the Earth, pepper is a plant) she's touching her breast (lactaing, speaks abou fertility of the earth)
not obvious iconography, we only know because cellini told us. used as a conversation piece. onyl patron was told. |
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Term
| 47. Benvenuto Cellini, Perseus with the Head of Medusa, 1545-53, Florence |
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Definition
very hard to cast.
medusa head is looking at the hercules from across the plaza. |
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Term
| 48. Titian, Rape of Europa, 1559-62, Venice |
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Definition
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Term
| 49. Titian, Flaying of Marsyas, 1570s, Venice |
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Definition
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Term
| 50. Titian, Reclining Nude (a.k.a. Venus of Urbino), 1536-38, Venice |
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Definition
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Term
| 51. Titian, Sacred and Profane Love, c.1514, Venice |
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Definition
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