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Nicola Pisano,
Pulpit, Pisa Baptistery,
1259-60
Pisa Italy |
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Giovanni Pisano:
Pulpit,Sant'Andrea,
1297-1300
Pistoia Italy |
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| a belief that regarded the universe and its contents as ordered in an absolute hierarchy. |
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| how an artest would learn; they would appritance and learn from skilled artists |
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| the use of differiniating size in to distingush heirachy |
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| Playing on the fact that jesus is have man have god and dipicting him as either or. i.e the pulpits |
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| The birth place of the Renassance- due to high economic boom, thus commissions for art. |
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| sculpting that is not free standing but carved out of a wall. |
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| style in which bodies are depicted in a generalized or idealized fashion. |
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| Anything which embellishes a figure, or a composition. |
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| the viewer is provided not simply with many examples of the same thing, but with many different things |
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| type of ornamentation in which opposites are set in contrast with one another |
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Giotto:
Arena Chapel frescoes,
Padua,
1305-06:
Expulsion of Joachim from the Temple |
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Cimabue:
Madonna Enthroned w/ Angels & Prophets, tempera on panel,
1280s |
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Giotto:
Madonna Enthroned,
tempera on panel,
1310 |
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Duccio:
Maestà Altarpiece,
for Siena Cathedral, tempera on panel, 1308-11 |
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| art work that is placed above an altar in a church |
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| elevating the consecrated bread of the Eucharist during the mass |
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| someone who which orders (i.e., commissions) a work of art or architecture |
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| The atoning or making up for an offence committed against God or one's neighbor. |
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| A painting made on wet plaster with pigments suspended in water so theat the plaster absorbs the colors and the painting becomes part of the wall. |
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| hallmark of Giotto's art, and of the Italian art that follows his example |
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| the juxtaposition of light and dark pigments to represent light and shade in illusionistic painting. |
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| A work of painting or sculpture consisting of four or more individual panels joined together. |
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| the process for creating the illusion of three-dimensional form on a two-dimensional surface. |
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| techinque used to show the importance of a figure using size |
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| Rendering a figure or object from an unusual point of view, so that its length appears compressed. |
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| a term used to describe a feature in a painting or sculpture that involves special skills on the part of the artist, often associated with foreshortening. |
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| A style of painting incorporating features derived from Byzantine models such as chrysography and stylized, elongated faces. |
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| lending money at a high rate of interest |
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Lorenzo Ghiberti:
Sacrifice of Isaac, Florence Baptistery door competition panel, 1401-02 |
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Masaccio:
Brancacci Chapel Frescoes, ca. 1427:
--Expulsion of Adam and Eve from Eden |
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Fra Angelico:
Annunciation, fresco, corridor of Florentine monastery of S. Marco, ca. 1440-45 |
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Lorenzo Ghiberti:
Sacrifice of Isaac, Florence Baptistery door competition panel, 1401-02 |
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Fra Filippo Lippi:
Madonna & Child with Angels, tempera on panel, ca. 1455 |
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Donatello:
St. Mark, marble statue for exterior of Orsanmichele, Florence, 1411-13 |
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Gentile da Fabriano:
Adoration of the Magi (Strozzi Altarpiece), tempera on panel, 1423 |
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| David, bronze statue probably made for Medici family, 1440s |
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Piero della Francesca:
Resurrection, fresco in town hall, Borgo Sansepolcro, ca. 1463 |
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Andrea Mantegna:
Camera degli Sposi, frescoed room in Palazzo Ducale, Mantua, 1465-74 |
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Lorenzo Ghiberti:
East Doors to Florentine Baptistery ("Gates of Paradise"), 1425-52 |
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| Part of the final process of polishing and incising done on a piece of cast metal sculpture after it has been removed from its mold. |
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| Ghiberti's Jacob and Esau panel from the Gates of Paradise shows an example of |
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| when a piece of artwork shows one body part in motion while the other one is resting. a "weight shift" |
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| Donatello's David is an example of what? |
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| Professional associations of artisan-manufacturers and bankers. |
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| who commissioned Donatello's st. mark? |
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| where everything in the picture is heading toward a "vanishing point" with orthagonal lines |
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| Modelling with a certain "smokiness." A subtle transition from light to dark across a surface or object in a painting, creating an appearance of softness. |
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| The application of paint in short dabs or spots of color. |
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| A technique used by Gentile da Fabriano, among others, in the early 15th century. |
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| painting by reducing the contrast between light and dark on objects that you wish to suggest are further away. |
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| Masaccio uses what technique in his Tribute Money |
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| Optical Modeling-in painting |
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| the modeling of an object in accordance with how it appears to sight rather than in accordance with its known characteristics |
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| the expulsion of adam and eve done by Masaccio uses what technique |
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| A portrait included in a work of religious art, depicting the person who commissioned the work of art |
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| Masaccio's Holy Trinity was this type of painting |
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| A type of altarpiece in which saints from different epochs occupy the same illusionistic space as the Virgin and Child. |
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| A method of painting a ceiling using perspective and extreme foreshortening to create a convincing illusion. |
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| Used in the oculus painted on the ceiling of Mantegna's Camera degli Sposi. |
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| Dome, Florence Cathedral, 1420-36 |
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Limbourg Brothers:
Les Très Riches Heures du Duc de Berry, 1413-16:
--Calendar page for January |
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Jan van Eyck:
Ghent Altarpiece, completed 1432 |
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| Santo Spirito, Florence, begun ca. 1436 Filippo Brunelleschi: |
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Jan van Eyck:
Man in a Red Turban, 1433 |
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Jan van Eyck:
Giovanni Arnolfini and his Bride (Giovanna Cenami), 1434 |
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Leon Battista Alberti:
Sant' Andrea, Mantua, begun 1470 |
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Rogier van der Weyden:
Escorial Deposition, ca. 1435 |
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Hieronymus Bosch:
Garden of Earthly Delights, 1505-10 |
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| A painting technique in which pigments are suspended in a medium consisting of a drying oil such as linseed or walnut. |
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| A method of painting in oils which involves the application of a transparent layer of dark paint on top of an opaque layer of light paint |
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| A term sometimes used to describe Flemish paintings in which naturalistically depicted, everyday objects are laden with symbolic meaning. |
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| A style term used to describe art that presents the world in accordance with optical reality. |
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| A painting (most often an altarpiece) consisting of three panels, usually hinged together. |
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| derivide from the aristotal way of thinking by combinding things you have seen to create something you haven't |
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| Wooden framework used to construct an arch, vault or dome but is removed after work is done. |
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| Modularity and Proportion |
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| a form of blueprinting based on this single module, all of the parts are proportionate to each other |
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| an example of modularity and porportion would be? |
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| Filippo Brunelleschi church plan |
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| ionic, doric and corithian |
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| Roman architect and architctural theorist active who was much read by humanists and architects in the 15th and 16th centuries. |
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| A type of church plan in which the nave is longer than the transept, producing three short arms and one long arm. |
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| The front of a building, on which the main entrance is usually located. |
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| A low-pitched gable, or triangular structure that sits atop the portico of a building constructed in the Greco-Roman style |
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| A free-standing gateway structure erected by ancient Roman emperors after a military victory. |
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| A shallow pier or rectangular column projecting only slightly from a wall. |
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| Colossal (or Gigantic) order |
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| Any architectural order whose columns rise from the ground through several stories. |
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| A simple form of an arched ceiling that consists of a rounded or pointed arch extended into space. |
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| Sunken square or polygonal ornamental panels used as decoration on a ceiling or vault. |
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Andrea del Verrocchio:
David, ca. 1465-70 |
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Antonio del Pollaiuolo:
Battle of the Ten Nudes, engraving, ca. 1465 |
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Sandro Botticelli:
Birth of Venus, ca. 1482 |
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Domenico Ghirlandaio:
Giovanna Tornabuoni, 1488 |
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| century scholars who studied and wrote literature, history and ethics in classical Latin and sometimes in classical Greek |
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