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| fast drying, water based painting medium made with egg yolk. often used in fresco painting and panel painting |
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| the relation of one part to another and parts of the whole with respect to size, height, width. |
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| in church and elevated stand, often, richly decorated where the preacher addresses the congregation |
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| a triangular feature placed as decortion over doors and windows |
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| pilaster (engaged column) |
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| a flattened rectangular version of a column sometimes load- bearing, but often purely decorative |
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| the most holy part of the place of worship. it contains the alter |
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| the door way of the church and the architectuarl compotistion surrounding it. |
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| vertical cylindrical part of a column that supports the entablature |
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| the definition of form by delicate graduations of light and shadow |
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| circular building usually covered by a dome |
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| the person or group that commission a work of art from an artist |
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| consisting of several colors |
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| in the renissance a large country house |
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| an ancient woodland deity with legs, tail, and horns of a goat or horse and the head and torso of a human. |
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| the range of colors used by an artist |
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| a mode of sculpture in which an image is developed outward or inward from a basic plane |
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| creates an illusion of depth in a 2-d image throughout the use of straight lines converging towards a vanishing point in the distance |
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| slow drying and flexible paint formed by mixing pigments with a medium oil |
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| use of small piece of glass stone or tile to create an image on a flat surface |
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| religious establishment housing a community of people living in accordance with religious vows |
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| the material with which an artist works |
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| handwritten book produced in the middle ages or renaissance. has painted illustarions |
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| an image often a skull to remind the living of the inevitablilty of death |
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| a cross in which the vertical arms is longer than the horizontal arm |
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| structure crowning a dome or tower often used to admit light to the interior |
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| sacred image representing christ virgin mary or other holy persons |
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| technique of painting on the plaster surface of a wall or ceiling while it is still damp so that the pigments become fused with the plaster |
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| representing the likeness of a recoginze human (or animal) figure |
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| the front or "face" of a building |
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| the portion of a classical architechtural order above the capitol of a column |
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| vaulted roof or ceiling on a circular base |
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| the stance of the human body in which one leg bears the weight the other leg is relaxed. creates asymmetry in the hip shoulder axis |
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| the arrangement of formal elements ina work of art |
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| series of columns set at regular intervals, usually supporting arches or an entabature |
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| recessed geometrical panel in a ceiling |
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| the decorated top of a coumn prouding a transition from the shaft to the entablature |
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| italian for bell tower, usually free standing but built near a church |
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| prayer book intended for lay use containing the devotions or acts of worship for the hours of the Roman Catholic Church |
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| a building usually round or polygonal used for christian baptismal services |
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| a semicylindrical vault with parallel abutment and an identical cross section throughout covering an oblong space |
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| equilibrium in the combination or arrangement of elements |
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| a curved piece of architecture that is used to span an opening |
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| a gallery formed by a series of arches with supporting coulms or peirs wither free standing of attached to the wall |
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| having a generalized or essential form with only a symbolic resembalance to natural objects |
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| Something crescent-shaped |
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| Humanism is the movement of the fourteenth to the sixteenth centuries when all branches of learning, literary, scientific and intellectual, were based on the culture and literature of classical Greco-Roman antiquity. |
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A palatial building, esp. in Italy.
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Nicola Pisano
Pulpit
Pisa Baptistry
1259-1260
Marble |
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Cimabue
Madonna Enthroned
1280-1290
Tempura on Wood |
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Giotto
The Arena Chapel (The Annunciation)
Fresco Cycle
Padua
1305 |
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Giotto
The Arena Chapel (The Kiss of Judas)
Fresco Cycle
Padua
1305
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Giotto
Stigmatization of Saint Francis
Freso
1317 |
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Simone Martini
Annunciation
1333 |
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Bernardo Rosselinino
Tomb of Leonardo Bruni
1444 |
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Lorenzo Ghiberti
Bronze Doors of Florence Baptistry
1452 |
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Filippo Brunelleschi
The Dome of Florence Cathedral
1410-1436 |
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Filippo Brunelleschi
Hospital of the Innocents (The Founding Hospital)
1419 |
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Leon Battista Alberti
Author
Architect |
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Masaccio
The Holy Trinitry
Fresco
1425 |
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Masaccio
Expulsion From Eden
Fresco
1425 |
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Donatello
The Bronze David
1430-1440 |
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Fra Angelico
Annunciation
1440 |
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Piero della Fraancesca
Dream of Constanine
1450 |
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Sandro Botticelli
Birth of Venus
1480
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Robert Campin
Merode Altarpiece
1430 |
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Jan Van Eyke
The Arnolfini Portarait (The Wedding Portrati)
1434 |
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Leonardo da Vinci
Vitruvian Man
1490 |
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Donato Bramante
The Tempietto
1502-1503
Rome |
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Leonardo da Vinci
Last Supper
Fresco
1498 |
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da Vinci
Mona Lisa
Oil on Wood
1505 |
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Michelangelo
Pieta
1498-1500
Marble |
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Michelangelo
David
Marble
1504
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Michelangelo
Sistine Chapel Ceiling
1512
Fresco |
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Raphael
School of Athens
1509-11
Fresco |
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Titian
Assumption of the Virgin
1518 |
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Andrea Palladio
Villa Rotunda
Vicenza Italy
1567-69 |
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- eastern roman empire
- enlongated figures
- simplified facial features, expressionless
- lack of depile
- lack of accurate perspective
- sense of mystery
- dramatic use of natural light,contrast with dark spaces
- rounded aches, richly decorated, gold
- rich tradition
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- naturalistic and realistic
- defined facila features
- athletic bodies
- realistic poses
- idealized beauty: curly hair, muscles, beautiful handsome features
- drapery
- white marble or other stone
- temples, rounded arches, classic columns
- before christian times
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| why do we study art history? |
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teaches us about our own creative expression and those of our past.
its a window into human thought and emotion |
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artistic and creative impulse
a natural desire to impose order on disorder and to create form from formless
response to ones environment
political commentary
desire for expression
means of communication |
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| how can you create illusion in art? |
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with images and words
artists and gods: both seen as creators can sometimes cause angel |
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materialistic
intrinisc: value in itself
religious
nationalistc
psychological value:emotional |
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reflections and shadows embody the spirt: draw a line around relected image or shadow
image magic: harm to image = harm to person can embody of snatch soul
archetecture: reponse by idetification more functional |
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valued as booty
enhanced power
intristic value
to show off
for decoration
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| how is archaeology relatd to art? |
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| stylistic analysis of works of art help archaelogists date layers of cultures and it of great importance to cultural and economic historians in determining patterns of trade. |
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- formalism: view art idependanty of context and function
- iconography: content over form
- psychoanalysis:
- deconstruction: no ultimate meaning
- marxism: economic factors
- semiology: signs
- feminism
- biography
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| how do we talk about art? |
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compostition
texture
shape
plane
light and color
balance
line |
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- delicate figures, selnder
- lots of gold, delicate decoration
- carved painted patterns
- pointed arches
- #3
- stone decoration
- virticalit: directed towards jesus
- france, middle ages, christain art
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| birth place of the renasissance |
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florence around 1400s
age of humanism
fusion of classical and christain ideas
circles and square
human proportions beautiful and perfect |
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