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23 Cards in this Set

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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


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