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| Cimabue Madonna Enthroned, c. 1280-1290. Tempera on panel. Relationship between Hebrew Bible and the New Testament. For altar in Santa Trinita in Florence. Hebrew Bible prophets reading scrolls at bottom, on the formation of the foundation of Madonna's throne. |
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| Giotto, The Lamentation, c. 1305-1306. Fresco Arena Chapel. John's eyes full of grief. Moment of last farewell between Jesus and his mother and friends. Low center of gravity. Tragic mood. |
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| Giotto, Interior of the Arena Chapel in Padua, c. 1305-1306. Fresco. Blue field with gold stars represents heaven. Walls are divided into three registers, or rows. Each register contains narrative scenes representing the lives of the Virgin and Jesus. Donor-Scrovengi. Scrovengi is included. |
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| Giotto, Madonna Enthroned, c. 1310. For church of All Saints in Florence. Unlike Cimabue, models his figures in light, so that they appear to be solid, sculptural forms. Gradual movement from light into dark, figures appear to be three dimensional. |
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| Duccio, Madonna Enthroned, c. 1308-1311. Tempera. Polyptych. Undulating softness. Gothic. |
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| Robert Campin and workshop, Merode Triptych, c. 1425-1430. Most famous work of Campin. Annunciation. Virgin and angel Gabriel in central panel. Oil based. Coat of arms of patrons in the window. Figure of baby Jesus flying in. Donors in left panel. Right panel depicts Joseph making a mousetrap. |
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| Jan van Eyck, Man in a Red Turban, c. 1433. Oil on panel. May be a self portrait due to the slight strain about the eyes like looking in a mirror. Inscription reads "As best I can." |
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| Hubert and Jan van Eyck, Ghent Altarpiece (closed at left, open at right) c. 1432. Oil on panel. Triptych. Some panels unfinished by Hubert, completed, and added some of his own. Donor- Jodicus Vijd. Portrait of donor and wife on outer panel when closed. John the baptist and John the Evangelist painted in grisaille. |
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| Jan van Eyck, The "Arnolfini Portrait," c. 1434. Man raising right hand in gesture of an oath. Reflection of two men in mirror. Signature right above mirror suggests one of these men might be van Eyck. Suggested that image represents marriage or engagement. Women lifting dress suggests wish for children. Dog represents fidelity. Oranges show wealth. Passion of Christ around mirror. |
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| Rogier van der Weyden, St. Luke Drawing the Virgin, c. 1435-1440. Influence of Campin. Deep landscape that moves into the distance. Madonna appeared miraculously for Luke to draw. Depicts Luke drawing the virgin in silverpoint. Oil and tempera on panel. |
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| Rogier van der Weyden. Descent from the Cross, c. 1435. Oil on panel. The crossbowmens guild of Louvain commissioned. Emphasizes emotional impact of the scene. Focuses a viewer's attention on the foreground. |
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| Bosch, The Garden of Earthly Delights (closed at left, open at right) c. 1480-1515. Oil on panel. Patron included the duke of Burgundy. Triptych. Continuous landscape unites three sections. Left hand side is Garden of Eden. Left hand side is Hell. When closed, crystal globe with image of the Earth emerging from the waters with God watching. |
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| Nicola Pisano, Fortitude, c. 1259-1260. Hercules or Biblical hero Daniel Example of typology. Stance is probably the product of study of Roman and Early Christian sculpture. |
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| Andrea Pisano, south doors of the Florence baptistery, c. 1330-1336. 28 separate panels. Scenes from the life of John the Baptist. Framed by Gothic quatrefoil. Example of relief. |
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| Nicola Pisano, Nativity c. 1259-1260. Combines annunciation with Birth of Christ. Example of relief. Virgin overpowers all other elements in the composition. Midwives washing the child and Joseph's wandering gaze at the events give the relief a human touch. |
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| Andrea Pisano, The Baptism of Christ, from the south doors of the Florence baptistery, c. 1330-1336. Christ stands in middle framed by John on the right in the act of baptism and an angelic women on the left. Dove symbolizes the Holy Spirit above Christ's head. |
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| Donatello, St. Mark, c. 1411-1413. St. Mark is patron. Large hands grasp his Gospel. Example of contrapposto. Drapery falls in deep folds to reveal and emphasize his posture. |
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| Donatello, The Feast of Herod, c. 1425. Relief represents the story of John the Baptist's martyrdom. Salome requests head of the saint in return for a seductive dance. Center is empty to add to the impact of the shocking sight. Uses linear perspective. Continuous narrative. |
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| Donatello, David, c. 1420s-1460s. Medici is patron. Lost-wax method of casting. Contrapposto. Standing on Goliath. Holding stone he killed Goliath with. Depicts David as young boy. Weilds Goliath's sword, which is too big for him. Can be viewed as an erotic sculpture with wing from Goliath's helmet and toes in hair. |
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| Ghiberti, The Sacrifice of Isaac, c. 1401-1403. Relief. Narrative details in the margin with focal point at the center. Isaac seems to accept his fate and does not struggle. |
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| Ghiberti, Gates of Paradise, east doors of the Florence baptistery, c. 1425-1452. Commissioned by Guild of Wool Merchants. Scenes from the Hebrew Bible. |
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| Gentile de Fabriano, Adoration of the Magi, c. 1423. Tempera on panel. commissioned by Palla Strozzi. The visit of the Magi to Bethlehem to acknowledge the newborn Jesus as king. Many episodes of the narrative appear in center panel. Kings represent youth, middle age, and old age. Uses light as a carrier of meaning. |
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| Ghiberti, The Story of Jacob and Esau from the Gates of Paradise, east doors of the Florence baptistery, c. 1435.Tells story of Isaac mistakingly blessing his son, Jacob, instead of the elder, Esau. |
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| Masaccio, The Holy Trinity with the Virgin, St. John, and Two Donors, c. 1425. Fresco. Commissioned by the Lenzi family. Lowest section has a skeleton laying in an sarcophagus. Inscription reads "What I once was, you are; what I am, you will become." Use of perspective gives the viewer all the data needed to measure the depth of this painting. The framework is "life size." Triangular composition to add to theme of trinity. |
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Masaccio, The Tribute Money, c. 1425. Fresco. Depicts story told in the Gospel of Matthew as a continuous narrative. Christ tells Peter to catch a fish whose mouth contains money for tax collector. On left, Peter takes the money from the fish and on the right he gives it to the tax collector. Uses atmospheric prespective.
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| Uccello, Battle of San Romano, c. 1438. Leonardo Bartolini Salimbeni commissioned. One of three panels depicting a battle between Florence and Lucca in 1432. Florence got victory. Seems to depict a ceremony rather than a war. Tempera on panel. Weapons on ground form the orthogonals that also neatly contains a fallen soldier all going towards a vanishing point. |
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| Masaccio, The Expulsion from Paradise, c. 1425. Shows the human body in motion. Fresco. The gate of Paradise barely shown. Convey a sense of endless space. Adam and Eve are striking representations of the beauty and power of the nude human form. |
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| Botticelli, Primavera, c. 1482. Tempera on panel. Believed to be commissioned for a cousin for the man's wedding. Depicts Venus in her sacred grove, with Eros flying overhead. The Three Graces and Hermes stand on the left. Zephyr stands to the right reaching for Chloris, whom he transforms into Flora. Flora embodies fertility. May be a celebration of marriage. |
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| Botticelli, The Birth of Venus, c. 1485. Tempera on panel. Central figure is Venus. Unlike Primavera, space behind the figures seem to open out into the distance. Effect of low relief. Bodies seem to be drained of all weight, so that they float. |
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| Piero della Francesca, Double Portrait, c. 1474. Oil and Tempera on panel. Demonstrates Piero's mastery of spatial representation and clarity of form by using textures made possible by oil painting. Diptych. Shows good side of duke whose face was damaged in a tournament. Gives wife place of honor on left. Background on left has a shade when right side is brighter. |
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| Piero della Francesca, Resurrection, c. 1463. Fresco. Figure of Christ dominates the composition. Triangular composition may be influenced by trinity. Dead trees on left and live ones on right adds to the theme of resurrection. Jesus over soldiers to show his victory over death. |
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| Mantegna, Camera Picta, c. 1465-1474. Entire painted room. Portraits of Gonzaga family on walls along with their children and their possessions. Used actual architecture of the room to create an illusionistic glimpse of the Gonzaga family at home. On ceiling, spectator sees the sky where small boys climb over the fences. Fresco. |
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| Leonardo de Vinci, The Virgin of the Rocks, c. 1485. Oil on panel transferred to canvas. Painted for a confraternity dedicated to the Immaculate Conception. St. John is adoring Jesus in the presence of the Virgin. Virgin is the link between Jesus and the young baptist. Mysterious setting. Use of sfumato. Figures arranged in form of a pyramid. |
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| Leonardo de Vinci, Vitruvian Man, c. 1487. Pen and ink. Visualizes Vitruvius' notion that the human body may be used to derive the perfect geometrical forms of the circle and the square. |
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| Leonardo da Vinci, The Last Supper, c. 1495-1498. Tempera wall mural. Commissioned by Duke Ludovico. Central vanishing point is directly behind the head of Jesus. Opening behind Jesus' head is the architectural equivalent to a halo. Leonardo lets natural light enframe Jesus. Everyone reveals their personality and their own relationship to Jesus. On the right, Peter grasps a knife, John seems lost in thought, and Judas recoils from Jesus into shadow. |
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| Leonardo da Vinci, Mona Lisa, c. 1503-1505. Oil on panel. Women depicted in three quarter pose against landscape background. Depicts her in simple garments without jewels to concentrate on her features. Represents her at half length so that her hands are shown. Forms a stable pyramid. Sfumato background. |
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| Medium for painting in which pigments are suspended in egg yolk tempered with water or chemicals; this mixture dries quickly, reducing the possibility of changes in the finished painting. |
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| Italian word for "fresh." Fresco is the technique of painting on plaster with pigments ground in water so that the paint is absorbed by the plaster and becomes part of the wall itself. |
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| An altarpiece or devotional picture, either carved or painted, with one central panel and two hinged wings. Example- The Garden of Earthly Delights |
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| An altarpiece or devotional work of art made of several panels joined together, often hinged. |
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| Flat, but parts come out at you and recede back. High-stands out a lot. Low-more subtle change. |
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| Dries slowly so you can paint over. Oil based, more consistent medium. |
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| Italian word for "set against." A composition developed by the Greeks to represent movement in a figure. Standing in a relaxed position on one leg. Example- Donatello's David |
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| A monochrome drawing or painting in which only values of black, gray, and white are used. |
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| The matching or painting of pre-Christian figures, persons, and symbols with their Christian counterparts. Example- sacrifice of Isaacs compared to sacrifice of Jesus. |
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| Literally, rebirth. During the 14th and 15th centuries, Italian writers, artists, and intellectuals aimed to revive the arts of the ancient world. |
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| A method of reducing or distorting the parts of a represented object that are not parallel to the picture plane in order to convey the impression of three dimensions as perceived by the human eye. Example- The Annunciation of the Death of the Virgin |
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| In a perspective construction, an imagined line in a painting that runs perpendicular to the picture plane and recedes to a vanishing point. |
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| The point at which the orthogonals meet and disappear in a composition done with scientific perspective. |
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| In a perspective construction, transversals are the lines parallel to the picture plane (horizontally) that denote distances. They intersect orthogonals to make a grid that guides the arrangement of elements to suggest space. |
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| Creates the illusion of depth by reducing the local color and clarity of objects in the distance, to imply a layer of atmosphere between the viewer and horizon. |
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| Italian word for for "light and dark." In painting, a method of modeling form primarily by the use of light and shade. Example- Mona Lisa. |
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| Italian word meaning "smoky." Used to describe very delicate gradations of light and shade in the modeling of figures. It is applied especially to the work of Leonardo da Vinci. Example- Mona Lisa. |
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| Madonna Enthroned c. 1280-1290 |
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The Lamentation, c. 1305-1306
Interior of the Arena Chapel, c. 1305-1306
Madonna Enthroned, c. 1310 |
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Madonna Enthroned, c. 1308-1311
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| Ghent Altarpiece, c. 1432 |
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| Merode Triptych, c. 1425-1430 |
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| Robert Campin and workshop |
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Man in a Red Turban, c. 1433
The "Arnolfini Portrait," c. 1434 |
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St. Luke Drawing the Virgin, c. 1435-1440
Descent from the Cross, c. 1435 |
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| The Garden of Earthly Delights, c. 1480-1515 |
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Fortitude, c. 1259-1260
Nativity, c. 1259-1260 |
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The Baptism of Christ, c. 1330-1336
south doors of the Florence baptistery, c. 1330-1336 |
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St. Mark, c. 1411-1413
The Feast of Herod, c. 1425
David, c. 1420s-1460s |
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The Sacrifice of Isaac,c. 1401-1403
The Story of Jacob and Esau from the gates of Paradise, c. 1435
Gates of Paradise, c. 1425-1452
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| Adoration of the Magi, c. 1423 |
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| Gentile da Fabriano, c. 1423 |
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The Holy Trinity with the Virgin, St. John, and Two Donors, c. 1425
The Expulsion from Paradise, c. 1425
The Tribute Money, c. 1425 |
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| Battle of San Romano, c. 1438 |
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Double Portrait, c. 1474
Resurrection, c. 1463 |
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| Camera Picta, c. 1465-1474 |
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The Virgin of the Rocks, c. 1485
Vitruvian Man, c. 1487
Mona Lisa, c. 1503-1505
The Last Supper, c. 1495-1498 |
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