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23 Cards in this Set

  • Front
  • Back

Cimabue, Madonna Enthronedwith Angels & Prophets, 1280-90.

-more grounded 3D depiction

-gives Mary weight, texture of clothing

-treating them as humans, move away from illusionistic Byzantine icons

-forefather of the Renaissance

Giotto, Madonna Enthroned, 1310.

-father of Renaissance

-break with Gothic style

-foreshortening and overlapping create sense of depth and shape

-depth/realism > showing every face

-still immaterial background and hierarchy of scale

Giotto, Arena Chapel, Padua, 1305.

-commissioned by Scroveni family to attone for usury

-frescoe: mixing pigment w/ plaster --> wall

-once dried, only removed by chipping

-blue heaven as sky, faux marble inlay frames stories

-builds narrative in sequential order

Giotto, Lamentation, Arena Chapel, Padua, 1305.

-diversity of expression, new depiction of grief

-setting echoes sentiment and arrows to Christ

-attention to drapery - moves with bodies

-bodies turned around frame focus, invite audience in

-attention to detail and humanism

Vesperbild (Pieta), c. 1330.

-inconsistencies in proportions - abstracting from the body

-very gruesome, not sanitized

-bloody, graphic, draws attention to mortality

Virgin and Child, c. 1324-39.

-Romanesque ideal figure w/ elegant drapery

-Jesus touches Mary's face - sweet familial feel

-Fleur-de-lis of France houses strands of Mary's hari

Limbourg Brothers,February, from Les TrèsRiches Heures du Ducde Berry, 1411-6.

-finest Netherlandish painters

-Very Sumptuous Book of Hours

-peasants portrayed as happily at work for aristocrats

-Zodiac signs and calendar above

Jan van Eyck, Ghent Altarpiece (closed), Saint Bavo Cathedral, Belgium, 1432.

-donors portrayed on front

-somber scene of Annunciation

-prophets on top predict coming of Christ

Jan van Eyck, Ghent Altarpiece (open), Saint Bavo Cathedral, Belgium, 1432.

-rich in color vs. muted closed doors

-separate spaces on top point to God vs. unified space on bottom point to lamb

Workshop of the Master of Flemalle, Merode Altarpiece (open), 1425-30s.

-typical trifold altarpiece style

-annunciation, donor appears on left

-picture as window

-vanishing point

Jan van Eyck, Double Portrait of Giovanni Arnolfini and his Wife, 1434.

-mysterious - is she pregnant? who?

-artist signed the piece

-dog shows wealth, accessories show religion

-mirror shows us figures in background

Jan van Eyck, Man in aRed Turban, 1433.

-self portrait

-incredibly detailed

-eyes look right at us - use of mirror?

Lorenzo Ghiberti, Sacrifice of Isaac,1401-2.

-contest for doors of Babtistery

-just an art student but beats Brunelleschi

spends next 25 years on doors

-bronze, uses quatrafoil frame

Donatello, St. Mark,Orsanmichele, Florence, 1411-3.

-Classical style emphasizing the body

-big beefy hands

-standing on pillow - s/o to pillowmakers guild

-very sincere

Nanni di Banco, Four Crowned Saints, Orsanmichele, Florence, 1409-17.

-for Roman sculptors killed for not making idols

-figures in the round

-sacrifice personal connection for heightened tension

Donatello,David,c. 1446-60 (?)

-prepubescent David

-sexually provocative, used for privater residence in Medici household

-Greek ideal of celebrating beautiful bodies

Masaccio, Tribute Money, Brancacci Chapel, Florence, 1427.

-more working class church, thus labors to portray story to literate audience

-atmospheric + linear perspective

-halos float on space, not flat

Masaccio, Expulsion of Adam & Eve,Brancacci Chapel, Florence, c. 1427.

-tensed, anguished physical bodies

-voice of God shouts after them

-grief, no idealization

-Eve based off classical sculpture

Sandro Botticelli, Birth of Venus, circa 1482.

-resists illusionist painting as a window

-idealizes the forms - weightlessness

-mythological subject, not Christian

Leonardo da Vinci, Virgin ofthe Rocks, c. 1485.

-imagined space with realistic features

-still separated from figures by chasm

-humble Mary sits on ground

-baby models

Leonardo da Vinci, Last Supper, 1495-8.

-put in refectory of monastery - extension of room

-experimented with technique, hasn't held up well

-geometric balance with Jesus as pyramidal base

-calm, stable focus in midst of turmoil

Leonardo da Vinci,Mona Lisa, 1503-06.

-sitter unknown

-ambiguous emotions because eyes and mouth are indistinct w/ covered glaze

-move away from symbolic portraits - dress is timeless w/ little detail, abstract background, turned towards us no profile

Michelangelo, David, 1501-4.

-idealized, Classical David but with distorted face

-poised in tension looking at implied Goliath