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Parmigianino (Mannerist) Madonna with the Long Neck - Mannerists disregarded rules of composition and perspective - wanted to be inventinve & playful
- Elongated figures - Madonna's long neck.
- Elf like figure at bottom
- Figures crowded to one side
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Botticelli (Middle Renaissance) Adoration of the Magi - Homage to Medici's.
- Cosimo & Lorenzo are the wise men kneeling by the baby Jesus.
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Botticelli La Primavera - Ethereal, "floating" figures, little perspective
- Venus in center
- Three graces to Venus's left
- Mercury on far left guards Venus
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Donatello (Early Renaissance)
David - Contrapposto position
- David's look suggests immaturity & adolescence.
- Regards Goliath's head with smugness
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Botticelli Birth of Venus - Inspired by ancient Greek painting of Venus's birth.
- Renaissance painters inpired by classicals
- Floating subjects.
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Bramante (High Renaissance)
Tempietto - First Renaissance building in the form of circular ancient temple (remember Renaissance artists inspired by classical art).
- Became prototype for 16th century church design.
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Cellini (Mannerist)
Salt Cellar - Poseidon & (perhaps) Aphrodite.
- Not like classically inspired works - more playful and disorganized.
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Leonardo da Vinci (High Renaissance)
Adoration of the Magi - Mary & child in center - pyramid construction
- departure from usual depiction w/ Mary on one side, 3 kings on other.
- Many subjects looking at viewer
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Leonardo daVinci (High Renaissance) Lady with an Ermine |
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Leonardo daVinci (High Renaissance) Last Supper - Apostles not in "line" - more natural groupings talking to each other
- Used tempera for fresco - experiment that didn't work - began to peel almost immediately
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Leonardo daVinci (High Renaissance) Madonna of the Rocks |
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Leonardo daVinci (High Renaissance) Mona Lisa - Leonardo wanted something other than sad & serious.
- Showed more torso than other portraits of time.
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Donatello (Early Renaissance) Mary Magdelen - Not your usual young & beautiful Mary Magdelen
- Old and ragged.
- "Violent" emotions
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Donatello (Early Renaissance) "The Slick Cat" - Inspired by ancients who often erected statues of generals on horseback.
- Used statue of Marcus Aurelius as model (survived Middle Ages b/c people mistakenly thought it was of Constantinople)
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Donatello (Early Renaissance) St. George - Contrapposto position.
- First Renaissance statue not supported by a wall (stands on its own)
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Ghiberti (Early Renaissance) Baptistry Doors (Florence) also called Gates of Paradise - Illustrates scenes from Old Testament
- Michelangelo said that the doors could grace the gates of paradise.
- Brunelleschi lost the competition for the doors to Ghiberti
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Masaccio (Early Renaissance) Tribute Money (in Bracacci chapel) - Apostles gathered around Christ. Confronted by tax collector. Christ tells Peter he will find money in mouth of fish. Peter is in distant left.
- Use of chiaroscuro.
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Masaccio (Early Renaissance) Expulsion of Adam & Eve (Brancacci chapel) - Intense psychological drama.
- chiaroscuro
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Masaccio (Early Renaissance) Holy Trinity - First to use Brunelleschi's linear perspective in painting.
- Emphasized illusion of a chapel receeding into wall by placing figures on a shelf that appears to come forward.
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Michelangelo (High Renaissance)
David - Largest free-standing statue since ancient times.
- Idealized vision of beauty and grace (different from Donatello's smug & immature David)
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Michelangelo (High Renaissance) Last Judgement - Major work of Michelangelo's later years - for alter of the Sistine Chapel
- 1800 sq ft - largest workof time
- Combination of Christian & pagan (classical) - Jesus looks like Apollo - River Styx (judgement is christian theme).
- Controversial because of nudity.
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Michelangelo (High Renaissance) Pieta - Only work Michelangelo signed
- Pyramid structure drawing attention to Mary's face
- Can see Michalengelo's knowledge of anatomy in details of muscles and bones.
- Mary young & beautiful (although she must have been older when Jesus died)
- Debate on what Mary's hand signifies? Resignation or Questioning?
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Raphael (High Renaissance) School of Athens - Plato & Aristotle in discussion - surronded by other Greek philosophers
- Plato points to the sky - he believes in universal truths one discovers by thought.
- Aristotle's palm faces down - he believes in experiment and practical knowledge
- Faces of da Vinci (Aristotle), Bramante, Michelangelo & Raphael used as models.
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Raphael (High Renaissance) Transfiguration - Raphael's last work - unfinished - he died on his 37th birthday
- Raphael's work typical of the High Renaissance - combined Christian and Classical themes and idealized beauty.
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Tintoretto (Mannerism) Finding St. Mark's Remains - Composition is disorderly & unorganized - not like High Renaissance paintings.
- Abrupt change from light to dark (not sfumato!) and unnatural perspective.
- Tintoretto learned the use of color from Titian.
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Titian (High Renaissance - Venice) Assumption of the Virgin - Used layers of pure color and masterful brushstrokes to create roundness of figures
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Titian (High Renaissance - Venice) Christ Crowned with Thorns - Later work - subjects emerge from darkness and shimmer with light
- Relies less on composition and more on color and brushstroke
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Titian (High Renaissance - Venice) Madonna with Saints - Titian ignores "rules" of composition placing Mary & Child to the side - not the main focus.
- Uses color to balance the composition.
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Brunelleschi (Early Renaissance) Dome in Florence - First dome since ancient times to span such a large space (remember the Pantheon from Ancient Rome)
- Used a ribbed inner dome to support some of the weight. The outer dome was lighter.
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Brunelleschi (Early Renaissance) Foundling Hospital - Notice the balanced symmetrical arches - inspired from classical architecture.
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