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Definition
| Nazi myth of superior creativity |
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| Nazi myth of inferiority of other cultures; Modern art according to Hitler; had works burned |
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| rejected art student; history's greatest art collector |
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| destroying icons; example: Buddhist statues in Afghanastan |
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| Terrorism against art as a tool for change; example: Uffizi bombing, May 27, 1993 |
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| Owning art is the new religion; patrons give money to museum not church |
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| first artist to sell a work for more than a million dollars |
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| furnice where art was destroyed; abuse of art; example: burned pagan art |
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| April 18, 2005: Columbia art history professor state "Lacoon" by Michelangelo as forgery; fixed arm on statue |
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| artist not working in New York |
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| "American Gothic", Grant Wood |
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| art you have to travel to see |
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| art that cannot fail on the refridgerator door |
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| modern tendency to deposit objects in public |
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| art that is intended to offend |
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| "rights" of artists and art object |
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| art of bad taste, made cheaply; the people's art |
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| "alachua", french fries, cannot alter color because of droit moral |
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| artist of big-eyed for the masses |
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| popular art critic who knows little about art |
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| most collected living artist; example of safe art |
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| art that offends no one; not taken seriously by art world |
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| 243 Helga paintings; public speculation and intrigue; illustrator turned artist; used by President Nixon as part of "art diplomacy" to fight the Cold War with the Russians |
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| mystery woman in Andrew Wyeth's paintings |
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| not an artist but used art to build an empire |
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| reflects the Disney philosophy of creating a perfected world, free of dirt, problems and stress where yuor dreams can come true |
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| British artist; published "Secret Knowledge" suggesting that artists from the 15th century used a pre-camera machine called the Camera Obscura to trace the outline of their subjects in paintings; not accepted by the art world |
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Definition
| drawing machine using darkened room, lens, mirror and light |
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| 1000 year period between the fall of the western Roman Empire in 410 and the revival of classical Greek and Roman culture embodied in the Renaissance |
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| maniera greca, maniera tedesca |
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Definition
| two main ideas prior to Renaissance |
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| first art historian; loved Van Eyck and gave him credit for inventing oil painting; "rebirth" of classical past |
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| stresses that all things in nature are important; rejects tradition that artists can only copy previous style |
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| fraticellis; take voews of poverty, obedience and chastity |
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| 1378, woolworkers were defeated in trying to stop salary cuts; reflects rise in humanism; reflects an attitude that all people are important |
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| merges Christian and Pagan |
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| rebirth of perspective, naturalism, nude, portrait, landscape; rise in humanism and history biographies of artists; invention of printing press; media change from fresco to oil; marble and bronze to terra-cotta: democratic art/affordable |
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Definition
| Guildhall of Labor; example of Franciscan Radicalism; all things important leads to unions; "kitchen garden of St. Michael"; at Florence; city grain market crucial in case of draught |
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| philosopher; high priest of neoplatonism; freedom to study and create |
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| first book printed; new technology |
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| 1220-1284; "Pulpit", Pisa Bapistry, 1259; first sculptor of the modern era; he and son Giovanni were top sculptors of the period; emperor Frederick II encourage adaptation of antique forms; includes Mary, Jesus and pagans like Hercules |
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Term
| Nicola Pisano, "Relief of the Nativity" |
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Definition
| part of "Pulpit"; synthesis of the French Gothic style and Classical style of ancient Rome; five scenes in white marble |
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Definition
| Italian painter and creator of mosaics from Florence; Giotto's teacher; last great painter working in the Byzantine tradition; flat forms and relatively stylized; pioneer towards humanism |
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| Giorgio Vasari's "The Lives of the Most Excellent Painters, Sculptors, and Architects" |
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Definition
| first art history book, completed 200 years after death of Cimabue; 1500s |
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Definition
| Cimabue, "Madonna Enthroned", 1280-90; gold background, stylized features, lines models drapery; stiff and formal; maniera greca |
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Definition
| Nicola Pisano, "Pulpit", 1259-60 |
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Definition
| Giotto, "Madonna Enthroned", 1310 |
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Definition
| Florentine painter, architect, and sculptor between 1267-1337; evolved a revolutionary new style and was the greatest and most influential Italian painter before the Renaissance |
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Term
| similarities between Giotto and Cimabue's Madonna paintings |
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Definition
1. tempera on wood
2. elaborate thrones
3. designed as altar pieces
4. Byzantine gold background
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Term
| differences between Giotto and Cimabue's Madonna paintings |
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Definition
1. space used differently
2. G: more definition in clothes creates movement
3. C: people all along the sides to the top; G: people only midway
4. G: looking toward Madonna C: looking away
5. C: Skinny manly Jesus G: fat baby Jesus
6. G: more gravity |
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Definition
| Chris Ofili, "The Holy Virgin Mary", 1996 |
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Definition
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Definition
| gravity, modeling, foreshortening, rounded forms, real people, human expressions, return to real, portraiture, landscape, blue sky |
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Definition
| "true fresh", painting technique in which water-based pigments are applied to a surface of wet plaster |
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Definition
| water-based pigments applied to dry plaster |
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Definition
| Giotto's Grotto: Arena Chapel, Padua 1305 |
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| greedy banker whose sin was chargin interest; family builds Arena chapel as atonement |
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| Giotto, "Nativity", Arena Chapel, 1305. |
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Definition
| taking things from antiquity and recreating the ambiance, visual authority for standing the test of time |
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Definition
| Giotto, "Crucifixion", Arena Chapel, 1305 |
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Definition
| Giotto, "Last Judgment", Arena Chapel, 1305. largest fresco in the chapel; madola - almond shape frame in the center that is the eye of God, variant of a halo |
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Definition
| left side, reserved for the condemned to hell; evil or productive of evil |
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Definition
| water based paint on plaster; permanent; Florentine specialty but also used in Rome; Venice avoided because of humidity |
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Definition
| final layer of fine ground plaster |
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Definition
| quick sketch study used to transfer original design to wall surface |
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Definition
| punching pin holes in cartoon and then hitting the cartoon with a bag filled with charcoal dust until charcoal goes thru the holes and marks the pin holes on the plaster |
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Definition
| red clay material, named for a place in Turkey |
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| Italian painter; style reflected the influence of Cimabue and Byzantine art, though he introduced a warmth of human feeling like Giotto in Florentine painting; leading painter in Siena one of Italy's most vital artistic centers in the Middle Ages |
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Definition
| Duccio, "Maesta", Siena Cathedral, 1308-11. 20 angels, 19 saints, altarpience comprised of many individual paintings; more direct presentations of reality |
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Definition
| Mary is majesty as Queen of heaven |
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Definition
| Duccio, "Kiss of Judas", back of Maesta, 1311. |
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Definition
| Giotto, "Kiss of Judas", Arena Chapel, 1305. moment after kiss |
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Definition
| Lorenzetti, "Effects of Good Government in the City and the Country", 1338-1339. |
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Definition
| illusion of airy condition |
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Definition
| own method characterized by refined contour line, grace of expression, serenity of mood; introduced fresco technique into Sienese school |
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Definition
| Simone Martini, "Annunciation", 1333. considered one of the greatest achievements of the Sienese school and the International style |
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Definition
| continuation of Byzantine/Gothic; represents aristocratic and conservative tastes |
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Definition
| Claus Sluter, "Well of Moses", 1395. |
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Definition
| Dutch sculptor; pioneer of "northern realism"; |
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Term
| Tres Riches Heures du Duc de Berry |
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Definition
| "The Book of Hours"; collection of text for each liturgical hour of the day; Limbourg brothers created this best known late medieval illuminated manuscript; 12 full page illustrations of the months |
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Definition
| Limbourg Brothers, "January", from the Book of Hours, 1413-16. |
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Definition
| precious stone that has been mined in the Badakhshan province of Afghanistan for 6,500 years; used by Limbourg brothers |
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Definition
| patron for the Book of Hours; medieval world's famous connoisseur of the arts; high noble; loved jewels and castles; huge book collection |
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Definition
| plague kills half of Europe; leads to famine; affects all classes of society |
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Definition
| Duke of Milan marches on Florence in 1402; tyrant of Italy, wants to take over all of it; dies at the gates of Florence; dies of plague |
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Definition
| King of Naples, attacks Florence in 1414, dies. |
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Definition
| son of Gian Galeazzo; Duke of Milan, returns to Florence in 1420s but then flees; Florentines celebrate against tyranny - leads to new reason to commission art - guilds - new major theme of sacrifice in art |
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Definition
| pupil of Alberti; architect and sculptor; designed tomb of greatest humanist scholar, Leonardo Bruni |
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Definition
| Bernardo Rossellino, "Tomb of Leonardo Bruni", Florence 1444. |
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Term
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Definition
| lion symbol of Florentine republic is adapted to Bruni's coat of arms |
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Definition
| allegory of the arts grieve over loss of patron; Latin epitaph held by two victories was composed by his successor; notes that the muses morn his death |
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Definition
| Florentine chancellow, humanist; papal secretary, then secretary to the republic; message of his tomb is his trimph and salvation as an individual |
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Definition
| Bruni's plea for citizen army |
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| History of the Florentine People |
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Definition
| first major work of historical writing to emphasize Classicism; Bruni's model of civic virtue - he sought to reconcile Platonism with Christian doctrine |
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Term
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Definition
| 1404 Bruni's unfinished book; new departure in historiography, showing the influence of Petrarch and Salutati and other classical models |
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Definition
| latin term for literary studies; used by Bruni |
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Definition
| place Bruni is buried; Church of the Holy Cross |
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Definition
| coloration of scultpure by chemical change, aging, or dirt |
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Definition
| Jacopa della Quercia, "Ilaria del Carretto", 1406-08. |
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Definition
| one of the earliest Italian Ren. sculptors; best remembered for his fountain for the public square of Siena; created tomb in the form of a Roman sarcophagus, cherubs with high relief along the sides; |
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Definition
| restored Ilaria, and sues James Beck for slander |
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Definition
| Ren. Art History Professor at Columbia University, critic of the Ilaria del Carretto tomb restoriation which he called "...disgrace, an incorrect, spic and span cleaning..." |
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Definition
| like a tomb marker, but does not have a body |
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Definition
| Filippo Brunelleschi, "The Sacrifice of Isaac", competition panel for the east doors, 1401. |
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Definition
| Lorenzo Ghiberti, "The Sacrifice of Isaac", competition panel for the east doors. 1401. |
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Definition
| 1378-1455, Ren sculptor of Florence; trained as goldsmith |
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Definition
| 1377-1446, Florentine architect; architecture based on math, proportion and perspective; lost design competition for Florentine Bapistry to Ghiberti |
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Definition
| Gothic architect of Duomo; began in 1296 |
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Definition
| italian meaning "cathedral" |
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Definition
| Cahtedral of Florience's name: St. Mary of the Flowers |
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Definition
| Filippo Brunelleschi, "Dome of Florence Cathedral", 1420-36. most important architectual commission since antiquity; solved the greatest architectual and engineering problem in 1000 years |
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Definition
| Michelangelo's criticism of decorative arcade balcony |
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Definition
| Filippo Brunelleschi, "Hospital of the Innocents", 1419, Florence. |
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Definition
| part of the Hospital of Santo Spirito, Rome, anonymous baby drop. Martin Luther in Rome in 1511 was horrified at the abandoned babies believing them to be "the sons of the pope himself" |
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Definition
| ceramic sculptor, inventor of new blue and white glazes, inexpensive substitute for marble (art for the people) |
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Definition
| fired earthenware of a gray, buff, or reddish color; used since prehistoric times to make sculptures and figurines, vases, tiles and bricks |
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Term
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Definition
| Della Robbia makes baked clay polychrome circular medallions with special enamelled ornamental effects |
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Definition
| Filippo Brunelleschi, "Interior of Santo Spirito", Florence, 1434. emphasized mathematical rigor in its use of straight lines, flat places, and cubic spaces, flat facades; different from emotional, elaborate Gothic style |
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Definition
| Lorenzo Ghiberti, "Self Portrait", from east door of the Bapistry, Florence Cathedral, 1424-52. |
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Definition
| Lorenzo Ghiberti, "The Gates of Paradise", east door, Florence Bapistry, 1424-52. Ten panels depicting Bible scenes, left center is self portrait, damaged by Flood of Nov. 4th, 1966. |
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Definition
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Definition
| area between Duomo and Bapistery |
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Definition
| Piero della Francesca, "The Flagellation" 1460. painting was comissioned as an attempt to favor the reconciliation between the two Christian churches of the east and west; rigorously planned; |
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Term
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Definition
| Leonardo DaVinci, "Perspective Study for the Adoration of the Magi", 1481. perfected perspective, grid system. |
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Definition
| Italian Ren painter, innovations in the use of foreshortening and linear perspective; illusionism, vanishing points |
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Definition
| Paolo Uccello, "Perspective Drawing of a Chalice", 1430-40. |
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Definition
| Andrea Mantegna, "Dead Christ", 1500. perspective, |
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Definition
| first great Ren painter; scientific perspective, natural lighting, learned from Brunelleschi and Donatello; nickname "ugly tom" |
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Definition
| Masaccio, "The Holy Trinity" 1425. most famous work of Masaccio |
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Definition
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Definition
| death education/arts: preparation for a good death |
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Definition
| Masaccio, "Expulsion" 1425, Brancacci Chapel, Florence. psychological depth, beauty of body. |
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Term
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Definition
| Masolino, "Temptation", Florence. Masaccio's rival |
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Definition
| Masaccio, "Tribute Money", 1425. part of fresco seriers for the Brancacci Chapel in Santa Maria del Carmine, Florence. Natural light to definte the human body and its draperies, illuminated from a single light source |
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Definition
| Ambassador to Cairo until 1423 and art patron; comissioned Masaccio and Masolino for frescoes in Brancacci Chapel |
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Definition
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Definition
| "true" water base painting on plaster |
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Definition
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Definition
| Gentile da Fabriano, "The Procession and Adoration of the Magi", altarpiece, 1423. |
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Term
| International Gothic Style |
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Definition
| continuation of medieval and Gothic aristocratic traditions characterized by decorative, exuberant, rich, gay and colorful cavalcades of figures; medieval courtly traditions; example: "the adoration of the magi" |
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Definition
| richest man in Florence; patron of Gentile's "The Magi" |
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Definition
| ledge below altar with small scale paintings |
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Term
| Innovations of early 15th century Italian sculpture |
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Definition
1. economic art: terra-cotta
2. re-introduction of nude
3. all'antica: ancient manner
4. contrapposto
5. ponderation
6. relievo schiaciato
7. psychomachia: warfare of soul
8. sacra conversazione
9. linear perspective |
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Definition
| Donatello, "St. Mark", 1411-15, orsanmichele |
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Definition
| Donatello, "David", 1430-40. Bronze, Florence. First nude in over 1000 years; nude Biblically correct; symbolizes Christian purity, virtue, and innocense |
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Term
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Definition
1. secure, posed for beauty
2. vulnerable, without clothing, pornographic |
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Definition
| Leon Battista Alberti, "Rucellai Palace" 1446-50, Florence. |
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Definition
| 27 BC; Roman architect and military engineer, famous as the author of the only complete architectural treatise to survive from antiquity, "The Ten Books of De Architectura"; describes public and domestic buildings, temples, orders of architecture, interior decoration, town planning, engineering |
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Definition
| Andrea of hanged (executed) men, meaning he was an artist who dealt with harsh realities of life and death |
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Term
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Definition
| Leon Battista Alberti, "Tempio Malastestiano" 1450. |
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Term
| Sigismondo Pandolfo Malatesta |
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Definition
| anti-christian evil prince of Rimini, builds temple to pagan gods; condemned to hell while alive by Pius II |
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Definition
| "The Prince", guides to politics, admirer of the ruthless; "end justifies the means"; published in 1532 |
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Definition
| by Castagno; beaten to death in a jealous rage; could be a legend |
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Definition
| Andrea del Castagno, "Youthful David" 1450. parade shield; symbolism for the triumph of Florence against tyrants; |
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Definition
| Andrea del Verrocchio, "David", 1470. |
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Definition
| those who attribute works of art to a better known name and apologize for lesser works as being by the "school of" or an inferior student |
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Definition
| Andrea del Castagno, "Famous Men and Women, from the Villa Carducci at Legnaia" 1450; nine portrayals |
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Definition
| Andrea del Castagno, "Dante" Italy's greatest poet and figure in literature |
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Definition
| Paolo Uccello, "Sir John Hawkwood" 1436, Florence. fresco of English mercenary |
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Term
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Definition
| italian for mercenary soldier |
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Term
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Definition
| Andrea del Castagno, "Niccolo da Tolentino", Florence Cathedral, 1455. Floentine Commander-in-chief |
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Definition
| Donatello, "Gattamelata", 1445. first bronze equestrian statue cast since ancient times; Erasmo da Narni; Marcus Aurelius as source; means "honey cat" |
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Definition
| metal alloy, mixes tin, zinc, iron, copper, lead |
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Definition
| coloration of metal, chemical reaction |
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Term
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Definition
| served in Florentine and papal armies; aquiring of nickname is uncertain |
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Definition
| Andrea del Verrocchio, "Colleone", 1481-96. nobility and power; master of anatomical |
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Term
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Definition
| Piero della Francesca, "Battista Sforza, Duchess of Urbino" 1475; stark realism |
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Definition
| Piero della Francesca, "Annunciation", 1450. |
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Term
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Definition
mother of Constantine, made a pilgramage to the Holy Land to find True Cross and bring it back home
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Definition
| Fra Angelico, "Annunciation", 1440. fresco on wall in Florence |
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Term
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Definition
| Fra Angelico, "Tomb" Rome, mid 1400s |
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Term
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Definition
| second Ren style, beyond naturalism: Lippi, Angelico |
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Term
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Definition
| Filippo Lippi, "Madonna and Child", 1450. |
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Term
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Definition
| Andrea Mantegna, "Ceiling tondo of the Camera degli Sposi" 1474. sotto in su |
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Definition
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Definition
| french art term for fool the eye illusion |
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Definition
| Andrea Mantegna, "Parnassus" 1497. |
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Definition
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Definition
| Sandro Botticelli, "Birth of Venus" 1480. |
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Definition
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Definition
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Definition
| tried to reconcile classical and Christian views |
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Definition
| Donatello, "Mary Magdalen" 1455. |
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Definition
| Sandro Botticelli, "Mystical Nativity" 1501. fear of apocalypse in 1500 |
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Definition
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Definition
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Definition
| Bartolomeo "Portrait of Savonarola", 1498 |
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Definition
| Flemish Netherlands, today Belgium |
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Term
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Definition
| Robert Campin, "Merode Altarpiece", 1425. |
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Term
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Definition
| Jan Van Eyck, "The Ghent Altarpiece" (open), 1432. |
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Term
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Definition
| Jan van Eyck, "The Ghent Altarpiece" (closed) 1432. |
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Term
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Definition
| Jan Van Eyck, "Man in a Red Turban" 1433. |
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Term
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Definition
| Jan van Eyck, "Arnolfini Portrait", 1434. |
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Term
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Definition
| Rogier van der Weyden, "The Descent from the Cross", 1435-38. |
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Term
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Definition
| yolk of egg and color paint |
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Term
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Definition
| new media replacing tempera and fresco; more vibrant colors |
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Term
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Definition
| dating by the study of tree rings |
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Term
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Definition
| Rogier van der Weyden, "Saint Luke Painting the Virgin" 1435-40. |
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Term
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Definition
| Hans Memling, "Tommaso Portinari" "Maria Baroncelli Portinari", 1470. |
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Term
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Definition
| Hugo van der Goes, "Portinari Altarpiece" 1476. |
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Term
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Definition
| Deomenico del Ghirlandaio, "Adoration of the Shepherds" 1485. |
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| Leo DaVinci, "Virtuvian Man", 1485-90. |
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| 1.618 phi is the perfect ratio |
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| Donato Bramante, "Tempietto" 1502 |
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| a comparison of painting, sculpture, and architecture; which is best? |
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| Francesco Melzi, "Self Portrait" 1515. |
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| italian: left handed, evil, sinister |
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| smokey haze, illusion of natural atmosphere |
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| Leo DaV "Embryo in the Womb" 1510. |
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| Andrea Verrochio, "Baptism of Christ", 1470. |
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| best restorer in the world, restored Last Supper |
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| Leo DaV, "Madonna and Child with Saint Anne" 1503. |
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| sign at entrance to Vatican Art collection: "let the ignorant stay away"; response to uneducated critics |
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| Michelangelo, "Pieta" 1500 |
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| Michelangelo, "David" 1501. |
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ceiling: world before Moses received law
left wall: world after Moses received law
right wall: world after birth of Christ |
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| designed and built Sistine Chapel; 1477 |
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| at war with Sixtus IV; in 1480 sent painters to Rome as a goodwill gesture to paint side panels of Sistine Chapel |
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| painted the original ceiling torn down for Michelangelo |
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| structural faults of Sistine Chapel |
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| 1504: crack in the ceiling, messed up some of the paintings |
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| cousin of pope and theological advisor for Sistine Chapel |
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| Michelangelo, "View of Sistine Chapel frescoes" 1509. |
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| Michelangelo, "Creation of Adam" 1510. |
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| Michelangelo, "Jeremiah" 1510. |
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| "smart cleaning agent"; amonium bicarbonate and sodium bicarbonate in a gel |
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| Michelangelo, "Laurentian Library", 1524-59. |
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| Michelangelo, "Last Judgment", 1534, on altar wall of Sistine Chapel, Rome. Controversial: nudity of figures, painted clothing on after his death. |
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| mistakes of last judgment |
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| Christ is too young; Christ has no beard; angels have no wings; narrative, not instantaneous; nudes fit for brothels; recognizable portraits |
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| Michelangelo, "Bartholomew" from Last Judgment |
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| Michelangelo, "Rondanini Pieta" 1555; smashed Florentine pieta, unfinished. |
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| Raphael, "Madonna of the Meadow" 1505. baby john and jesus |
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| Raphael, "Pope Julius II" 1511. |
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| Raphael, "Galatea" Rome 1512. |
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| Villa Franesina; outside Rome, built by Baldassare Peruzzi; decorated by Raphael and Sodoma |
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| Raphael, "Disputation over the Sacrament" 1509 |
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| Raphael, "School of Athens" 1511. depicts plato and aristotle |
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| no classical, colore, new subjects, oil paints, artist/political independence, celebrates female nude, art for arts sake, religious propoganda |
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| art without subject, art for arts sake, visual poems |
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| Giovanni Bellini, "San Giobbe Altarpiece" 1482. Venice |
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| Giovanni Bellini, "Saint Francis in Ecstacy", 1485. |
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| Giorgione, "Tempest" 1505. Venice |
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| Giorgione (Venetian Raphael), "Sleeping Venus" 1509. |
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| Giorgione, "Fete Champetra" 1510. |
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| Titian, "Assumption of the Virgin", 1516. |
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| Titian, "The Pesaro Madonna" 1519. |
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| Titian, "Venus of Urbino" 1538. |
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| Titian, Rape of Europe, 1560. |
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