Shared Flashcard Set

Details

Art History Midterm
Nemerov Yale 2009
64
Art History
Undergraduate 3
02/16/2009

Additional Art History Flashcards

 


 

Cards

Term
[image]
Definition

Title: Temptation on the Mountain from the Maestra Altarpiece

Artist: Duccio

Date: 1308-1311

Medium: Tempera

Location: Siena Cathedral (design by Pisano)

 

 

Particularly aware of space, in depictions of biblical images that actually mirror Vienna at the time, innovative use of fabric to soften hard edges of Byzatine art. Emblem of religious righteousness and political power,  dark city states near the devil (perhaps in the countryside cantado)

Term
[image]
Definition
Title: Entrance into Jerusalem from the Maesta Altarpiece
Artist: Duccio
Year: 1308-1311
Medium: Tempera and Gold on Wood
Location: Cathedral of Siena
 
SPACE - Outdoor representation. Just as Sienna would’ve looked when the painting paraded to the chapel with a direct reference to the Palazzo Publico.. Door as an access point and line as vantage point to the biblical
Term
[image]
Definition

Title: Maesta Altarpiece, Madonna and Child Enthroned

Artist: Duccio

Year: 1308-1311

Medium: Tempera and Gold on Wood

Location: cathedral of Siena

 

SPACE - mirroring the design of the Cathedral, move away from Byzantine in her body's tork and his attempt at perspective with the throne

Term
[image]
Definition

Title: Guidoriccio da Fogliano

Artist: Simone Martini

Year: 1333

Material: Fresco
                       Location: Palazzo Publico, Siena
    Relevance: Siena as portrayed as in the light with the contrasting city state in darkness, displays a bit of his power outright, Had international influences

Term
[image]
Definition

Title: The Well Governed Countryside

Artist: Ambroggio Lorenzetti

Year: 1338-1339

Medium: Fresco

Location: Palazzo Publico, Sienna

Significance: Secular state of Siena’s prosperity, an allegory, also used the space, picking the light wall for good government, important also in that it was the first panoramic of city and countryscape.

Term
[image]
Definition

Title: Good Government: The Well-Governed City

Artist: Ambroggio Lorenzetti

Date: 1338-1339

Medium: Fresco

Location: Palazzo Publico, Siena, Italy

Significance: Secular state of Siena’s prosperity, an allegory, also used the space, picking the light wall for good government, important also in that it was the first panoramic of city and countryscape.

Term
[image]
Definition

Title: Last Judgement

Artist: Giotto

Date: 1303-1305

Location: Arena Chapel, Padua, Italy

Medium: Fresco

Significance: First real break with the Byzantine style establishing painting as a major art form “father of Western pictoral art” and master of space. Mastered pictoral expression based on observation “early scientific” – real emphasis on presence. In corner is Enrico Scrovegni presenting heavenly chapel to angels themselves
Depicting the architecture intensifies the sense of being in one place at one time

Term
[image]
Definition

Title: Lamentation

Artist: Giotto

Year: 1303-1305

Location: Arena Chapel, Padua, Italy

Medium: Fresco

 

Significance: PRESENCE Closeness between Mary and Jesus made manifest in the arms holding Jesus. Second woman is a mirror of Mary without a diminution of power and intensity even at the furthest removed (Mary Magdalene) there’s still intensity. Theres no relief around the edges. John the evangelist gives intensity. The body transects the ground in a crucified gesture which allows us to understand the slope as a literal decent, it makes us realize that the earthiness of the slope is aligned with Jesus to manifest his humanity. Gesture also calls attention to the sky and the grieving angels which extend the anxiety into the sky.  Angels are physical phenomenon (like comets) material entities in which nothing is not material

 

Energy culminates in the back-turned figure, which is opposite of the at Byzantine frontal. That which you can not see is most powerful

 

Term
[image]
Definition

Title: The Kiss of Judas

Artist: Giotto

Year: 1503-1505

Location: Arena Chapel, Padua, Italy

Medium: Fresco

 

Significance: torches and spheres are a set of visual exclamation points conveying confusion easily,  everything is meant to consolidate down to the moment of the kiss (against Giotto)Judas’ cloak for example sweeps over Christ, into his own narrative, which gives him power = visual brevity. The gap creates an open space to which your eye is drawn and in its blankness it conveys the certain sweep of Judas’ betraying gesture but the exceptional suddenness and narrative power of this one moment. Within such marvellous moments of compression worlds unfold out from it

 

Differences in character are descriptive
•   Jesus as vertically oriented with a beautifully sculpted face

•    Judas’ face is aligned with the horizontal – lack of space between eye and eyebrow, hooked nose, curly hair

 

Term
[image]
Definition

Title:The Meeting at the Golden Gate

Artist: Giotto

Date: 1303-1305

Location: Arena Chapel, Padua, Italy

Medium: Fresco

 

Signifance: Giotto as father of pictoral representation and painting (leaving Byzantine) Kissing of Anna and Joachim, Crushing of energy, meeting of narratives, Elements of compression – the walking in adds element of activism. Gate references a roman gate in Northern Italy… tower aligns with the kiss. Gate puts thunderous end to 6 frames
 

 

 

Term
[image]
Definition

Title: The Annunciation to Anna

Artist: Giotto

Date: 1303-1305

Location: Arena Chapel, Padua, Italy

Medium: Fresco

 

Significance: PRESENCE Structure of house, and servant spinning, echos the frame itself. Anna seems larger, the bed  curtain isolates her, draws attention to her, and highlights her connection with the angel. Angel is foreshortened, collapsed. Suggests violence and rupture of the supernatural

Term
[image]
Definition

Title: Joachim Among the Shepherds

Artist: Giotto

Year: 1303-1505

Location: Arena Chapel, Padua, Italy

Medium: Fresco

 

Sculptural roundness and thick physical dense rendering of the body. He’s trying to make two dimensional depictions have the quality of low relief sculpture.  The landscape has a physical thickness too. Barren mount, expresses his forelorn condition. Sheperds aligned with the hut. There’s an intense gap between the figures – physical and sensuous. HUMANISM

 

Term
[image]
Definition

Artist: Fra Angelico
Title: San Marco Alterpiece
Date: 1438-1440
Medium: fresco

Location: Church of San Marco, (Florence, Italy)


Two sentences significance: With the orthogonal on the rug, Angelico plays with the new idea of perspective introduced by Masaccio and Paolo Uccello. With these orthogonals and the geometric shapes on the rug, Angelico mathematizes religious mystery.


Term
[image]
Definition

Artist: Fra Angelico

Title: Annunciation (Inside, Cell 3)

Date: 1438-1445

Medium: Fresco

Location: Monastery of St. Marco, Florence, Italy

 

The architecture resonates with the actual space of the room where the fresco was originally painted, giving an illusory affect. but the central white glowing space between mary (and her clothes) and the angel gives a mysterious affect  

 

Term
[image]
Definition

Title: Annunciation (Outside)

Artist: Fra Angelico

Date: 1438-1445

 Medium: Fresco

Location: Monastery of St. Marco (Florence, Italy)

 

Angelico uses perspective but rejects the rational system associated with it by making the Virgin appear to be in two places at once: at the center of the picture and at the same time on the right of the picture. Further, the garden echoes the chastity of Mary but at the same time reminds the viewer of the Garden of Adam and Eve.

Term
[image]
Definition

Title: Battle of San Romano

Artist: Paolo Uccello

Date: 1440-1450

Medium: termpera and oil on poplar

 

Painting depicts a Florentine victory over the Sienese. Uccello uses perspective to create a more realistic scene, projecting you into the distance, into the countryside, juxtaposing the gruesome battle in the foregrouns with the peace of the land in the distance/ The hat ack int he center is extremely detailed, far beyond what is necessary for rendering an everyday object, and this speaks to his desire to render the world mathematically.

 

Term
[image]
Definition

Title: The Deluge

Artist: Paolo Uccello

Date: 1447

Location: Santa Maria Novella (Florence Italy)

Medium: Distemper mural transferred to canvas

 

Uccello makes perspective the subject of the painting with two scenes sharing hte same vanishing point with lightening hitting it to emphasize it. Compared to the Trinity by Mossacio, which has a relatively ordered perspective this painting has a riot-like sense of perspective.

Term
[image]
Definition

Title: The Expulsion

Artist: Masaccio

Date: 1427

Location: Brancacci Chapel, St. Maria del Carmine (Florence, Italy)

Medium: Fresco

 

This is Masaccio's most famous work as the intense physicality oof the bodies immediately strikes the viewer. the earthliness of the fresco and the out-of proportion short arms signifies humanity in a powerful way: it is not perfect.

Term
[image]
Definition

Title: The Tribute Money

Artist: Massacio

Date: 1427

Medium: Fresco

Location: Brancacci Chapel, in the basilica of Santa Maria del Carmine (Florence, Italy)

 

Like the Trinity this painting uses perspective; this time the vantage point does not push us beyond the figures, btu rather to Christ himself. The bodies are scultred by light which comes from an angle, making shadows.

Term
[image]
Definition

Title: The Trinity

Artist: Masaccio

Date: 1426-1427

Medium: Fresco

Location: Church of Santa Maria Novella (Florence, Italy)

 

This painting is a good example fo the new style which utilized perspective that the Florentine artists introduced at the time. However, the painting is only half given over to perspective as while the octagonals on the ceiling move the viewer's eyes toward one vanishing point, Christ is flattened pictorally as if Masaccio is not ready to give over the painting to the new sytle. This ambiguity isbest seen in Mary's eyes; one looks directly at us while the other incorporated into the perspective.

Term
[image]
Definition

Title: Crucifixion Diptych

Artist: Rogier van der Weyden

Date: 1463-1464

Material: Oil on panel

 

Meant to be shown together because the gown carries over, vaguely reminiscent of 20th century painting in its immediacy

Term
[image]
Definition

Title:  The Descent from the Cross

Artist: Rogier van der Weyden

Date: 1435

Medium: Oils on Park

Location: Painted for a church in Louvain in Belgium (Confraternity of Crossbowmen)

 

Famous because:
-No one had seen anything like it in terms of powers of description, ability to life you up almost into the word
-No perspective, just many, many planes packed in for maximum impact
 
History of those who owned it:
-Mary of Hungary saw it, paid for it with an organ, brought in back to enchanted chamber in her castle where it was a big attraction
-King Philip II of Spain came into possession of it (had been packed in a crate, assumed to be lost at sea); stayed at palace in Madrid until 1939
 
Striking:
Doubling of Jesus’s body and Mary’s body
Speaks of 15th century theology of compassion
Mary is someone who feels the crucifixion in every bone of her body, just as you should as the viewer

 

Term
[image]
Definition
Title: The Merode Altarpiece
Artist: Robert Campin
Date: 1425-1428
Medium:Oil on wood
 
For private devotion
        A scene of the Annunciation
    NO PERSPECTIVE (as an Italian artist would understand it)
        Tilts up, especially in the center
Artist wanted you to see things, get the narrative instead of just an illusionistic space
   
Symbolism
Represents a sort of threat; workbench tools foreshadow the tools of the crucifixion; mousetrap is the Devil’s Mousetrap; emphasis on materiality
 
Term
[image]
Definition

Title: Man in Red Turban

Artist: Van Eyck

Date: 1433

Material: Oil on panel

 

DETAIL DESCRIPTION Self-portrait?  Exact representation (details like stubble), "this is my effort, Jan van Eyck made me" - increasingly individualy focused

Term
[image]
Definition

Artist: Jan van Eyck

Title: Madonna of the Canon can der Paele

Date: 1434-1436

Material: Oil on wood

 

Commisisoned by van der Paele, illustrates the difference beteen northern and southern art: tilted up so that you can see everything (no orthagonals) - more obsessed with color and texture than mathematics. Thought of a painting as existing in your eye not as something you look through.

Term
[image]
Definition

Artist: Jan van Eyck

Title: Arnolfini Wedding Portrait

Date: 1434

Material: Oil on oak

 

Power of Description
        Elaboration of “stuffs,” of materials i.e. the fur of the cloak, green wool of the dress, fur of the dog, wood of the building, leather of the straps

 

Two Elements that might threaten description but don’t:
        Mirror in the background
            Tour de force of illusionism, again says “van Eyck was here” Series of circles around the mirror show scenes from Jesus and his crucifixion
           

Clues you in to other things that may be symbols, i.e. the dog Perspective is approximate, but not exact because no exact vanishing point
 

Term
[image]
Definition

Title: Ghent Altarpiece

Artist:  Jan van Eyck

Date: 1432

Location: Saint Bavo Cathedral, Ghent

Medium: Oil on Wood

 

Oil paint renders the body with slickness of hte skin, faces of unprecendent vividness instead of the clay quality of the body in frescoes. Small details included. Polyptch.

Term
[image]
Definition

Title: Portrait of the Merchant Georg Gisze

Artist: Holbein

Date: 1532

Medium: Oil on panel

 

Speaks to  the new idea of selfhood with secularized religious iconography (implemeents of the passion - nails etc.) used in the physical realm of a merchant. Still northern in that it does not display correct perspective (right angle? no)

Term
[image]
Definition

Title: Temptation of St. Anthony, part of the Isenheim Altarpiece

Artist: Matthias Grunewald

Date: 1510-1515

Material: Oil on panel

 

For a monastic hospital and the saints depicted are associated with disease and cure. Note the bottom detail of the second interior which uses color incredibly, but remains grotestque.

Term
[image]
Definition

Title: The Isenheim Altarpiece, this is what is shown with the doors closed

Artist: Matthias Grunewals

Date: 1510-1515

Material: Oil on panel

Location:: chapel of the Hospital of St Anthong Insenheim, Germany

 

Jesus' arm severed with the opening of the door

Term
[image]
Definition

Title: Isenheim Altarpiece

Artist: Matthias Grunewald

Date: 1510-1515

Material: Oil on panel

Location; Hospital of St. Anthony, Isenheim, Germany

 

Annunciation, Angelic Concert, Madonna and Child, and Resurrection.

Term
[image]
Definition

Title: Self Portrait in a coat with a fur collar

Artist: Albrecht Durer

Date: c. 1500 (he was 28)

Material: Oil on panel

 

Figure's frontality makes himselg godlike, without any background he becomes an iconic figure. the hand is making a blessing gesture, it is in reality clutching a fur collar which displays a groundness. the hyperbolically diplayed skill of the artist is the true subject (showing off) with a meticulous depiction of hair and beard.  Divine proportion of the body.

 

Term
[image]
Definition

Title: Portrait of Erasmus of Rotterdam

Artist: Holbein

 Date: 1523

Material: Oil on panel

 

Painted with both Erasmus and Holbein were living in Bassel. The book Erasmus is houlding was just finished and reads about the labors of Hercules.  The relationship between the Column on the left and the books on the right could suggest that an immovable object balances with the dissemination of information - aka books can hold things up and transport us etc. (Manuscript as rising in prominence in N Europe)

Term
[image]
Definition

Title: Virgin and Child with St. Anne

Artist: Leonardo daVinci

Date: 1508-1513

Materials: Oil on Wood
Location: Probably painted in Milan

 

FLORENCE AND THE HIGH RENAISSANCE - Shows figures intertwined in a complex spacial arrangement that no one had ever seen before. "Threw down the gauntlet" - drama of artistic challenge.

 

Subnote: Later interpreted as Freudian about his childhood in that he was born out of wedlock to peasant before being brought itno his father's family - so he has two mothers. Mystery of individuality.

 

Term
[image]
Definition

Artist: Raphael

Title: Madonna of the Meadow

Date: 1505

Material: Oil on panel

Location: Florence, Italy

 

Made lots of Madonna's but this had a notably Raphael style (idea of individual style was new) beginning the modern nortion of authorship. Michelangelo was sculpturally dense, Leonardo was smoky and Raphael was calmer and more meditative

Quotes daVinvi with the left leg and long right arm

 

Term
[image]
Definition

Artist: Leonardo daVinci

 Title: Seriously?

Date: 1503-1505

Medium: Oil on poplar

Location: Florence

 

Different idea than the Durer portrait in that it has a background implying not godliness, but more a mystery of the self invoked by sfumato (smokey) atmosphere.  The background also has physical analogies to the women. To daVinci there was a strong relation between body/earth. Rock/bones. Lake/Blood of Heart.  Also implies the human mind is a mystery with activity of the brain implied in the landscape - ringlets, water and lines of eyes/horizon.

Term
[image]
Definition

Title: Doni Tondo

Artist: Michelangelo

Date: 1503-1504

Medium: Oil and tempera on panel

 

Essentially answering the challenge of being able to tork legs and bodies posed by daVinci in the Madonna and St Anne

Term
[image]
Definition

Artist: Michelangelo
Title: David

Date: 1501-1504

Material: Marble

 

Symbolizes Florentine civil ideals and the Medicis: Hero, Individual and Civic Engagement. Brithpoint of our conception of selfhood, in the liberation of a body already there, stands boldy apart from the world it fashins. individual as autonomous.

 Florence was politically instable, and just as David had protected his people and governed them justly, so too should the ruler of Florence justly govern and defend the city-state

 

Characteristic depiction of energy in reserve, like the tension of a coiled spring, as if in prelude to action. Classically influenced with an attention to anatomy and the classical nude. The turn of his head and muscular tension allude to an unseen presence, or figure – common in Hellenistic sculpture. Presented towering pent-up emotion rather than calm, ideal beauty
 

Term
[image]
Definition

Title: Moses

Artist: Michelangelo

Date: 1513-1515

Material: Marble

Location: Rome (for Julius II)

 

Was meant to be seen from below with seven other massive forms. the horns are a convention to help the viewer. Like David there is much energy and tension. Important difference between Rome and Florence. Rome was all about the domination of the papacy and Moses coming down from the mount while in Florence the David was about the sovereign individual. Reference to the Lochiwan.

 

Term
[image]
Definition

Title: Expulsion of Heliodorus

Artist: Rafael

Date: 1512

Material: Fresco

Location: Apolistic Palace, Vatican City (for Julius II)

 

Story from the Book of the Maccabees in the Bible, in which a pagan general enters the Temple of Jerusalem to steal a treasure, when all of a sudden, a magical, fantastic horseman and two equally apparitional figures appear who then rout the pagan general from the sacred place
Political message: Refers to Julius II’s desire to expel cardinals and other political figures. In the picture, Julius is on the same plane as the vanquisher, and Raphael and the printmaker are aligned with the two horsemen

 

 

Term
[image]
Definition

Artist: Michelangelo

Title: Sistine Chapel, Creation of Man

Date

Date: 1511-1512

Material:Fresco

Place: Sistine Chapel, Apolisitic Palace, Rome

 

Entirely humanist representation of the scene. Adam is still a material earthy part whereas th lord is transcendent. Spark from the extended fingertop. Replaced the straight architectual axis of Leonardo. Complementary bodies. Arists power as aligned with divinity - making a world where there was blankness. ignuite they are meant purely artistically – the beauty of their own bodies and Michelangelo’s ability to make I do so, human creativity as such, it’s not the body signifying a religious or classical meaning

Term
[image]
Definition

Artist: Michelangelo

Title: The Temptation and Expulsion from Paradise

Date:1510-1511

Material: Fresco

Location: Sistine Chapel, Rome

 

 Permutation of the Laocoön with the snake around the tree and the bodies of Adam and Eve flanking. The two figures are essentially taken from a chapel in florence, quoteing your own work.  going back to giotto it condenses in a powerfulway. depicts the power of centripital concentration. Summarizes and brings to a perfected point a century of exploration of the human body.

Term
[image]
Definition

Artist: Rosso Fiorentino

Title: Dead Christ with Angels

Date: 1526

Medium: Oil on canvas

 

Fiorentino’s Christ is a riff on Michelangelo’s Adam. One answer to how you make art in the wake of such a formidable figure is that you take a political avenue undeveloped by the master and make it into your own poetics
In this picture, Fiorentino sexualizes the male aesthetic. Also see the Lacoön here. The coils of the snake are represented by the whorls in the candle. The sons are recast as angels

 

Term
[image]
Definition

Title: Allegory of Love

Artist: Bronzino

Date: 1544-45

Material: Oil on wood

 Location: Given to Frances I

 

MANNERISM Emerged in the 1520s, overlapping considerably with High Renaissance art
•    Most central tenet to mannerism is artifice, or a representation of a scene or idea, which High Renaissance artists tried to conceal through the use of perspective and shading to make their art look more natural
•    Mannerists were less inclined to disguise the contrived nature of art production as were artists of the High Renaissance
•    Artifice reveals itself in the imbalanced compositions and unusual complexities of mannerist art, which is also characterized by ambiguous space, departures from expected conventions, and unique presentations of traditional themes
 

Term
[image]
Definition

Artist: Bosch

Title: The Garden of Earthly Delight, Hell (Right Panel)

Date:1505-1510

Material:oil on wood

Location: Palace of Henry III of Nassau, regent of Netherlands 


above a giant bed that could hold 50 people
Triptic mode is just a medium for display of something much closer to our modern understanding of art – something to impress us.  Brings something into being that didn’t exist before (that’s why art is different from journalism). Art creates its own world that brings you into the revelation of something you had no idea existed until the moment it was made.  Not social data.  Art can embrace “fictionality.”   Renaissance conceptionin many ways.
 

Province of the fictional 

 

Term
[image]
Definition

Artist: Bosch

Title: The Garden of Earthly Delight, Paradise (left panel)

Date:1505-1510

Material:oil on wood

Location: Palace of Henry III of Nassau, regent of Netherlands 


above a giant bed that could hold 50 people
Triptic mode is just a medium for display of something much closer to our modern understanding of art – something to impress us.  Brings something into being that didn’t exist before (that’s why art is different from journalism). Art creates its own world that brings you into the revelation of something you had no idea existed until the moment it was made.  Not social data.  Art can embrace “fictionality.”   Renaissance conceptionin many ways.
 

Province of the fictional 

 

Term
[image]
Definition

Artist: Breugel the Elder

Title: Netherlandish Proverbs:

Date: 1559

Material: Oil on panel

 

Indulgences audiences passion for detailed and close imafery. he complexity demands close scruity - captures Netherland morality and mentalirt. Comment on the human consition . Shows a disenchantment with the world. Invites viewers (like Bosch) to created paths of assocaition ebtween different elements. You have to experience it, it's not passive. In the end it's fairly visually disquieting 

 

Breuel’s picture has a man in the bottom right, directly above his signature.
What does it connect to? Multitasking, spilt milk, filling in the ditch after the calf has drowned? The man is in darkness with a lamp that sheds no light, reaching for an ax. Connected to violence, underside of things

 

At its most powerful, art may be the repository of savage energies. Not just moral edification, making you feel better, etc. It can stun you in a way that is indifferent to you and exerting a violent energy towards your understandings.
 

Term
[image]
Definition

Artist: Titian

Title: Bacchus and Ariadne

Date: 1522-23

Material: Oil on canvas

 Location: Venice, produced for Alfonso d'este for his Alabaster Room

 


Meditation on the power of surface:
Freize, Right to left procession of features, foregrounded - Quotes classical reliefs like an ancient Roman sarcophagus

Bacchus - Introduces us to the erotics – he is quoted from religious iconography transposed into an unabashedly sensual placement. Secularization and sensualization of religious iconography (mirrors Raphael and Michelangelo)

Ariadne as emphasizing surface – the gesture of surprise arrests the action and gives an emphasis to the sky, mirroring between gowns and clouds
Takes Ariadne out of her crown and puts it as a personal constellation in the sky

Sky  as the most intense representation of surface with a clear blue

Bacchus and Ariadne - Boy meets girl and the rest of the world melts

 

Term
[image]
Definition

Artist: Titian

Title: Diana and Actaeon

Date: 1556

Material: Oil on canvas

Location: Painted for Phillip II Poesie series

 

As an exposition of surface:
Surface erotics in part about paint and flesh-
Equates flesh with oil painting as if they were made for one another

The trees blocking the distance emphaizes the surface 
The branches as visualization of Diana’s evil eye gaze
Acteon’s gesture and the drape - a figure for a viewer coming into the presence of a stunning unexpected scene, A figure of aesthetic experience
Figure stands for the beholder
 

Term
[image]
Definition

Title: Rape of Europa

Artist: Titian

Date:1559-1562

Material: Oil on Canvas

Location/History: for Phillip IIs Poesie scenes

 

FLATNESS
Blue sky refuses depth. The pose of Europa/the tail suggests fecundity (baby at the bottom of the tail) – it’s not just sensual it’s producing, Compare with Diana and Callisto Parallels of child birth

Differences between Venice and Rome:
In Venice: Principle of creativity gendered as     feminine with an emphasis on color and     sensuality
In Rome/Florentine style : Michelangelo’s creativity is gendered as masculine emphasizing     mastership and detail of the body. Maybe that’s why we see this birth, because Tician conceived his work as giving birth to a picture
 

Term
[image]
Definition

Artist: Titian

Title: Flaying of Marysus

Date:1570-71

Medium: Oil on Canvas


Extravagantly based on the surface – it’s all right up in your face, same sensuality, an even more intense sadism than The Rape of Europa. Marysus is flat like the picture, hung up like the picture and the others seem to be representing painting him. The true self portrait is the old man
 

Term
[image]
Definition

Artist: Tintorello

Title: Finding of the Body of St. Mark

Date: 1562

Material: Oil on canvas

History: Commissioned by Tommaso Rangone for the Scuolo Grande di San Marco in Venice

 

Rushing perspectival difference emphasized by tow things above and beyond the octagonals: dramatic stop gesture of St. Mark over the vanishing point, which in hte god-like gesture seems to form a world and the lighted trap foor.  Its not perspective for perspectives sake it's that humans can create depth and space

 

Term
[image]
Definition

Artist: Tintoretto

Title: Removal of the Body of Saint Mark

Date: 1562

Material: Oil on canvas

 

Hints at Counter Reformation power of religion. Super highway rush yields a  spiritual ecstasy
Ravishment of the scene and the Christian quality brought about by the extreme foregroundedness with a rush into space, has the effect of being a sort of spacialized swoon,  a disorientation
 

Term
[image]
Definition

Artist: Tintoretto

Title: Last Supper

Date: 1592

Material: Oil on canvas

Location: San Giorgio Maggiore

 


Relevance: Rush into perspectival depth – last suppers are almost always frontally shown. Counter-Reformation: World we live in versus the glowing world of light. Table represents the spirituality the ecstasy of faith visually delivered. Engages with viewers to impart the Catholic Church’s belief in the didactic nature of religious art. Mannerist-like: An imbalanced composition and visual complexity

 

 

Term
[image]
Definition

Artist: Caravaggio

Title: Supper at Emmaus

Date: 1601

Material: Oil on Canvas

 

Chiaroscuro (lighting) – not just illustrating, but intensifying the story. Famously, the apostle on the right’s left hand seems to puncture the picture. Reaction of the apostles almost cueing our own. Emphasizing fundamental tenants of Catholicism in the Eucharist (food literally falling off the table).  Jesus' puffy face as giving it an earthly and almost sacriligeous feel.

Term
[image]
Definition

Artist: Caravaggio

Title: Doubting Thomas

Date: 1602-03

Material Oil on Canvas

 

Premium gesture in imagining how art can pierce viewers and convince – an utterly uncanny eruption of the real.  Opposite to the “don’t touch me” of Mary Magdalene – this is the most visceral of the depictions. Cross shaped figures.

Term
[image]
Definition

Artist: Caravaggio

Title: Boy Bitten by a Lizard

Date: 1596-1597

Material: Oil on Canvas

 

Michael Fried: disguised self-portrait – he wasn’t that rich. The right hand of the boy and the left hand of the artist is the palette hand – its haunted by Caravaggio’s stance holding a palette. The Boys left hand (his right) figures the painting hand. If a painting can suspend itself in the immersive moment of its becoming if it can reverse the pain. Caught in this dialectic between becoming and became. Not religious but still focused on the vividness of painting

 

Term
[image]
Definition

Artist: Caravaggio

Title: Bacchus

 Date: 1596-1597

Material: Oil on canvas

 

Dialetic between becomine and became: look to the goblet - is the wine still moving (aka the painting still living) or are the lines on the goblet itself than its an intensified emblem of  the twin foces of ongoing movement and frozeness. 

Term
[image]
Definition

Artist: Caravaggio

Title: David with a Head of Golliath

Date:1606-1607

Material: oil on wood

 

Relay between meditative gestures between the face of David (which can be taken as Caravaggio, implying the immersive quality that is painting) and the face of Goliath (which, though dead, is still thinking.)

Term
[image]
Definition

Artist: Caravaggio

Title: Medusa

Date: 1597

Material: Oil on canvas, mounted on wood

 

Shows the moment when Medusa is reflected back on herself, but its also the moment when the head is displayed: Meaning Painting is both of those things: the moment when life is there, but it’s also the display 

Term
[image]
Definition

Artist: Caravaggio

Title: Salome with the Head of John the Baptist

Date: 1609

Medium: Oil on canvas

 

 A hand extending out towards us roughly emulating a painters hand, offering up something lifeless but alive somehow, and In the executioner shows that the painter is doing so with a profoundly meditative quality that doesn’t quite end even when the process is completed. John’s downcast eyes are still meditative Salome’s eyes turn away in revulsion, but also in the way that a finished painting is paradoxically something we don’t want to look at because its finished
The real question he wonders about: What happens when it’s done?

 

 

Term
[image]
Definition

Artist: Caravaggio

Title: David with the Head of Goliath

Date: 1606/07

Medium: Oil on wood

 

 

Supporting users have an ad free experience!