Created by Justina Wong
about 7 years ago
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Question | Answer |
Andrea Pisano, Door detail 1 "Salome takes head to Herodias," 1335 -- reliefs, south doors, Florence Baptistery -- gilded bronze -- quatrefoil (gothic style) | |
Andrea Pisano, Door detail 2 "Baptism of his disciples," 1335 -- reliefs, south doors, Florence Baptistery -- gilded bronze -- quatrefoil (gothic style) | |
Brunelleschi, Dome of Florence, 1436 -- worked with Ghiberti & ... -- talented architect | |
Brunelleschi, Ospedale degli Innocenti, 1444 -- had changes to design (not by him) | |
Brunelleschi, San Lorenzo, mid-15th century | |
Cimabue, "Virgin and Child Enthroned", c.1290-1300 (late 13th century) -- part of Santa Trinitá church in Florence -- Italy influenced by Byzantine art -- 1st painter of Renaissance style (characteristics) -- Italo-Byzantine style | |
Claus Sluter, Portal of Chartreuse de Champmol (Charter House), c. 1388-1410 | |
Claus Sluter, "Well of Moses," 1406 -- actually a fountain | |
Donatello, "The Feast of Herod," c.1425 -- Sienna Cathedral -- optical illusion/realism -> pictorial space | |
Donatello, Patron "St. George," 1415 -- commissioned by guild of armorers & swordmakers in Florence | |
Duccio, "Annunciation of the Death of the Virgin," Maestá Altarpiece, 1308-11 -- Siena | |
Duccio, "Betrayal of Jesus," Maestá Altarpiece, 1308-11 -- Siena | |
Duccio, Maestá Altarpiece, 1311 -- Siena | |
Duccio, Raising of Lazarus, 1311 | |
Fra Angelico, "The Annunciation," 1450 -- San Marco convent -- different capitals: Ionian vs. Corinthian -- mix various traditions: too large figures vs. environment; pointed Gothic arches vs. round arches | |
Ghiberti; (L) Brunelleschi (R), Sacrifice of Isaac; 1401 -- competition for east doors of Florence Baptistery | |
Ghiberti, "Gates of Paradise," 1452 -- main gate (east doors) of the Baptistery of Florence -- gilded = unified effect = golden illumination | |
Ghiberti, "Gates of Paradise," Story of Isaac and Sons detail, 1452 | |
Giotto, Arena Chapel in Padua, 1306 -- shaped outlook of 14th century -- barrel-vault, cylindrical -- 38 panels, narrative scenes ** gothic style: to depict architecture smaller than actual (pictorial device) | |
Giotto, "Meeting of Joachim and Anna," Arena Chapel in Padua, 1305-6 -- gothic style (architecture size) | |
Giotto, "Kiss of Judas," Arena Chapel in Padua, 1306 | |
Giotto, Arena Chapel of Padua, "Lamentation," c. 1304-6 | |
Giotto, "Virgin and Child Enthroned," 1310 -- Florentine Church of Ognissanti -- 1st painter to place figures in illusional 3D space | |
Giovanni Pisano, "Annunciation," 1301 -- Sant'Andrea pulpit in Pistoia, Italy -- compared to father's (Nicola) pulpits | |
Hieronymus Bosch, "Garden of Earthly Delights Exterior," 1510 | |
Hieronymus Bosch, "Garden of Earthly Delights Interior," 1510 | |
Hubert and Jan van Eyck, Ghent Altarpiece Exterior, 1432 | |
Hubert and Jan van Eyck, Ghent Altarpiece Interior, 1432 | |
Hugo van der Goes, Portinari Altarpiece Exterior (closed frontispiece), 1476 -- commissioned by Medici Family Bank Bruges branch manager, Tommaso Portinari | |
Hugo van der Goes, Portinari Altarpiece, 1476 -- commissioned by Medici Family Bank Bruges branch manager, Tommaso Portinari | |
Jean Fouquet, "The Melun Diptych," 1455 -- realistic portrait of donors & their vision of Virgin/Christ -- earthly vs. divine -- diptych | |
Jan van Eyck, "Madonna with Chancellor Nicolas Rolin, 1437 | |
Jan van Eyck, "Portrait of Man" or "Man in Red Turban", 1433 -- self-portrait? | |
Jan van Eyck, "Portrait of Giovanni Arnolfini and his Wife," 1434 | |
Limbourg Brothers, Very Rich Book of Hours January, c. 1412-16 -- international Gothic style = idealized style -- patron, Duke of Berry | |
Limbourg Brothers, Very Rich Book of Hours February, c.1412-16 -- international Gothic style = idealized style -- patron, Duke of Berry | |
Lorenzetti, "Allegory of Good Government," c. 1337-40 -- panoramic mural in Sala della Pace (Hall of Peace) = city hall in Siena -- good gov. on lighted walls, bad gov. on shadowed walls | |
Mantegna, "Camera picta," 1474 -- portraiture -- to show the future generations the life of the past | |
Mantegna, "Camera picta" detail, 1474 -- illustionistic painting of oculus -- di sotto = from below upwards -- ultimate goal = preserve life | |
Masaccio, "Holy Trinity," 1428 | |
Masaccio, "The Tribute Money," 1427 | |
Master of Flémalle, Mérode Altarpiece (aka Annunciation Triptych), 1430 | |
Melchior Broederlam, Dijon Altarpiece, 1349-99 -- triptych | |
Nanni di Bianco, "The Four Crowned Martyrs," 1417 -- harmony = parts as a whole | |
Nicola Pisano, "Annunciation," 1260 -- Pisa baptistery pulpit | |
Perugino, "Delivery of the Keys to St. Peter," 1481 -- linear persp -- ideal structures -- St. Peter's considered the first Pope | |
Piero della Francesca, "The Baptism of Christ," 1450 -- center of larger altarpiece -- mathematical linear persp = geometric clarity -- proportions etc = important -- contrapposto = part of both transient (right) & eternal (left) worlds | |
Piero della Francesca, "Portrait of Montefeltro," 1474 -- panoramic landscape (from N. Euro) -- profile views (in ref. to Roman coins) | |
Rogier van der Weyden, "St. Luke Drawing the Virgin," 1440 | |
Rogier van der Weyden, "The Deposition," 1438 -- 2 diagonals; Mary imitates Christ's body -- feeling of compression = no space around; shallow depth | |
Uccello, "Battle of San Romano," 1440 -- New World of Renaissance -- solutions to linear perspective -- brilliance & decorative color instead of local color (intro to fantasy?) -- hinged perspective = using 2 diff. types |
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