Term
|
Definition
- Intellectual movement developed from the rediscovery of Latin and Greek texts
- Roots from Francesco Petrarca in beginning of 1300s
- Fully developed in 1400s
- Study of classical authors, Latin and Greek grammar, rhetoric, moral philosophy or ethics, poetry and history |
|
|
Term
| Renaissance Humanism Definition |
|
Definition
- Instead of studying interpretations given by others, humanists focused their analysis on Primary sources (documents, artifacts)
- Process of continuous verification on sources and the study of ancient philosophers
- Used to assess the role of the human being as a creator deity
- Development of new experimental approach to the study of the real world (a modern concept examination of all its features) |
|
|
Term
| Years of the Council of Florence |
|
Definition
|
|
Term
| What was the council of Florence? |
|
Definition
- Promoted teh reunification btw the Roman catholic church and the greek byzantine catholic church
- Started in Basel, Switzerland in 1431, was then transferred to Ferrara in Italy
- The diffusion of a plague near Ferrara and the diplomatic ability of Cosimo determined a new transfer of council in Florence, where it took place under the newly inaugurated cupola of Brunelleschi |
|
|
Term
| Who were the courts in the council of Florence |
|
Definition
1. Pope Eugene IV
2. Byzantine emperor John VII Palaeologus
3. Patriarch Joseph II of Costantinople arrived in Florence
- the greatest intellectuals and scientists of the pd. met and discussed
- became an occasion of cultural exchange btw the western and eastern world
- renaissance humaism acquired a new dimension through the analysis of its relation with Christianity |
|
|
Term
| Religious issues of Renaissance humanism |
|
Definition
- Increased faith in the capabilities of man that came from teh application of teh reasoning logic of teh educated indiv.
- everything in life has a determinate nature, but man can choose
- man gains teh intellectual freedom to travel up or down the moral scale, aware of teh sincere and vivid importance of God on earth and not servant of a dogmatic philosophy |
|
|
Term
|
Definition
Giovanni Pico della Mirandola
An Oration on the dignity of man
1480 |
|
|
Term
|
Definition
San Marco
1437
Commissioned by Cosimo the elder to the architect Michelozzo |
|
|
Term
|
Definition
Descent from the Cross
1430-1432
San Marco Museum
Commissioned by Palla Strozzi for his burial chapel in Sacristy of Santa Trinita church, Florence |
|
|
Term
|
Definition
Annunciation
1433-1434
Museo Diocesano, Cortona |
|
|
Term
|
Definition
Annalena
1434-1435
Museo di San Marco, Florence |
|
|
Term
| San Marco Convent, Florece |
|
Definition
1436-1445
In 1436, Angelico moved from Fiesole to San Marco
- his workshop begins the large fresco decoration of all the main spaces of the structure
- the convent was renovated by Michelozzo and patronized by Cosimo the elder |
|
|
Term
|
Definition
Madonna of the Shadows
1438-1446
San Marco convent |
|
|
Term
|
Definition
1406-1469
-Entered in Carmine convent at age of six, due to the poverty of his family
- In the convent while Masaccio and Masolino work at the frescos of the Brancacci chapel
- His artistic production will effect the art of Sandro Botticelli, but also da Vinci |
|
|
Term
|
Definition
Madonna of Humility
Lippi
castello Sforzesco, Milan
1431 |
|
|
Term
|
Definition
1437
Barbadori panel
Louvre, Paris |
|
|
Term
|
Definition
1437
Tarquinia Madonna
Palazzo Barberini, Roma
Lippi |
|
|
Term
|
Definition
1465
Madonna and Child with angels
Galleria degli Uffizi
Lippi |
|
|
Term
| Madonna and Child with Angels |
|
Definition
- On the back of the wood panel there is a sketch of a feminine bust
- Innovative composition and formal conception:
- Size of madonna
- Displayed on a foreshorten window frame
- Inspired by contemporary sculpture
- Landscape: birds eye view inspired by flemish paintings
- the atmospheric environment created by the mild fusion of the color tones with teh value of light
- towards leo's teoria degli affetti |
|
|
Term
|
Definition
1435
The Virgin of Chancellor Rolin
Jan van Eyck
Louvre, Paris |
|
|
Term
| Who dominated art in Florence between 1470-1500? |
|
Definition
| Pollaiolo, Verrocchio, and Botticelli |
|
|
Term
| What was the goal of the time btw 1470-1500? |
|
Definition
| Methods of dipicting space, form and light were acquired so 3 new fields of investigation were developed aka they explored new and different problems in representation, often related to different sectors of the Florentine society |
|
|
Term
| The 4 tendencies of 1470-1500 |
|
Definition
1. the dynamic line (pollaiuolo,verrocchio and young leo): all nature is one, therefore plant, animal and human physiology are worthy of being studied as principles of form, space, and light
- Motion, growth, decay and dissolution are more characteristic of our world than mathematical relationships
2. The abstract and ideal line (botticelli and lippi): abstract values and ideas, expressed through the drawing line and color tone, are a central concern. Subjects that express emotional, poetic yearnings are preferred
3. Florentine chronicle (Ghirlandaio): scriptural narratives and scenes of saints' legends had to be linked with contemporary Florence. Main personalities and the ideal view of Florence become part of the narration |
|
|
Term
|
Definition
Pollaiuolo
Hercules and the Hydra
1475
Galleria degli Uffizi, Florence |
|
|
Term
|
Definition
Sassetti Chapel
1485
Santa Trinita Florence
Ghirlandaio |
|
|
Term
|
Definition
1431-1498
Painter and Sculptor
-first large scale mythological paintings known to us
-3 pictures on canvas listed in 1492 inventory of the medici palace, representing the labors of Hercules
-Moved to Palazzo Vecchio in 1494 and now lost |
|
|
Term
|
Definition
Pollaiuolo
1470s
Hercules
Frick collection, New York |
|
|
Term
|
Definition
- Built from 1446 by Michelozzo di Bartolommeo
- Building became prototype of Renaissance civil architecture
- Completed about 10 years later
- Combined tradition (pietra forte, grained sandstone, and rustication) with new Renaissance concepts |
|
|
Term
|
Definition
Hercules and Antaeus
Pollaiuolo
1478
Galleria degli Uffizi, Florence |
|
|
Term
|
Definition
Giuliano de'Medici
1475-1478
Verrocchio
National Gallery of Art, Washington |
|
|
Term
|
Definition
Lady with Bouquet
1478
Verrocchio
Bargello, Firenze |
|
|
Term
|
Definition
Mona Lisa
1503-1505
Leonardo da Vinci
Louvre, Paris |
|
|
Term
|
Definition
Verrocchio
The Baptism of Christ
1475-1478
Galleria degli Uffizi, Florence |
|
|
Term
|
Definition
- The art production of Botticelli is related to an essential cultural and political passage of teh Florentine history:
- from the Medicean domination... exiled in 1494
- to the affirmation fo the republic under Savonarola
(1452-1498), the Dominican friar who became leader of the republic btw 1494 and 1498, when he was burnt in Piazza della Signoria |
|
|
Term
| What did the works made by Botticelli after 1495-1496 represent? |
|
Definition
| The rigorous moral ideals of Savonarola transferred into visual form |
|
|
Term
|
Definition
The Lamentation
1495
Milano, Museo Poldi Pezzoli |
|
|
Term
|
Definition
The Nativity
1501
National Gallery, London
- archaic interpretation based on a total refusal of perspectic principles
- the compostion is displaed according to a religious hierarchy |
|
|
Term
|
Definition
1452-1498
- After the expulsion of the medici in 1494 ge becane leader of the city
- Florence was then proclaimed christian and religious republic refunded under the name of jesus christ
- Bonfire of the vanities: pagan books, statues, pagan paintings, chess, musical instruments, poems, fine dresses, were all burnt in piazza della signoria
- 1498: excommunicated by pope alexander VI
- his excessive rigor determined his decline and his final arrest and execution, which took place in Signoria
- he was burnt with Fra' Domenico da Pescia and Fra silvestro, two of his closest associates that were arrested with him in San Marco convent |
|
|
Term
| Alessandro Filipepi aka Botticelli |
|
Definition
1445-1510
- Initially trained as a goldsmith by his brother Antonio
- 1464-1467: apprenticed to Lippi
- By 1470 had his workshop
- early works influenced by Lippi
- linearism of pollaiuolo brothers
- verrocchio's strong sense of plasticism, which has been acquired through his late activity for verrocchio's workshop |
|
|
Term
| What happens with Boticelli around 1470? |
|
Definition
| - He begins to enter in contact with the Medicean family and the protagonists of the Neo platonic academy, in particular Marsilio Ficino and Polizano |
|
|
Term
|
Definition
Male Portrait with a medal
1474-1475
Firenze, Uffizi
Botticelli |
|
|
Term
| Neo-Platonic Florentine Academy |
|
Definition
Promoted by Cosimo the Elder
Founded 1459 by the literates and scholars |
|
|
Term
| Love and Beauty within the Neo-Platonic Florentine Academy |
|
Definition
Love and Beauty became the keys of the elevation of human beings from the reign of the Materialto teh superior one of the Spirit
Mythology gave visual and cultural shape to these ideas
This is one of teh reasons why pagan themes flourished in visual arts |
|
|
Term
|
Definition
Study of two standing figures
Botticelli
1475
Lille |
|
|
Term
|
Definition
Portrait of Giuliano de'Medici
1478
National Gallery, Washington |
|
|
Term
|
Definition
1482
Uffizzi
-Commissioned by Lorenzo di Pierfrancesco de'Medici
-Painting was at Palazzo Medici
-Made for a marriage
-Painting: Mercury, teh messenger of the Gods, is prodding a small bank of clouds, driving away the winter winds
-Amor, god of passionate love, is flying cherub, recognizable by his bow, arrows and quiver
-Venus, goddess of love and beauty
-Three graces
-Flora, goddess of spring, recognizable by the flowers that come out of her mouth. |
|
|
Term
|
Definition
1482-1484
Botticelli
Uffizi
-The portrayal of the arrival of the goddess of love at teh island of Cyprus
-Stands in contrapposto
-Zephyrus, the warming wind of spring, is represented embraced by the personification of Chloris or Aura, they create a soft breeze that pushes Venus towards Cyprus
-Hera is represented by the flowersover her dress
- |
|
|
Term
|
Definition
-Real florentine woman
-Eyes follow you. Use of optics
-Background horizon is uneven and opposite to the position of her shoulders
-She sits at a 3/4 pose.
-Awareness of her 3D |
|
|
Term
|
Definition
-Circle inside the square
-Leo's intent was from nature and drawings by Brun.
-Studied human anatomy |
|
|
Term
|
Definition
-First time that attention was given to attitude in female
-Cuts bust lower to give space to arms inducing them in visual form
-Hands capture life of person |
|
|
Term
|
Definition
1452-1519
-Son of a Florentine notary
-1466-1473 apprenticed to Verrocchio |
|
|
Term
|
Definition
Annunication
1472-1473
Leonardo
Uffizi
-Optical illusions ensure a correct reading of the painting from a determined viewpoint
-Aerial perspective in the background testimonies Leo's early study towards the rep of atmosphere |
|
|
Term
|
Definition
Landscape
pen and brown ink on white paper
-not created by exact horizon
-lateral view is more natural, not the original view
-strong influnce of northern flemish painting
-evokes the effect of wind blowing |
|
|
Term
|
Definition
Adoration of the Magi
1481
Uffizi
-done in 2 different time periods
-a anonymous painter added several layers of paint made of red and brown earth pigments
-obscure the original drawing |
|
|
Term
| Where did Leo move and in what years? |
|
Definition
|
|
Term
|
Definition
Virgin of the Rocks
Leonardo
1486
Louvre, Paris |
|
|
Term
| When was the last supper made? |
|
Definition
|
|
Term
| When did Leo go back to Florence? |
|
Definition
|
|
Term
| Leonardo's science of painting? |
|
Definition
painting=mental discourse
-capable of imitating toperfectional all the natural forms and capable of endlessly inventing other forms
-mental discourse is a process which begins through the eyes that make possible to pass from teh obsercation of nature to teh mind and by the means of hands from the mind to the painting
-the aim of leo was to unigy scientific knowledge and the artistic representation of nature |
|
|
Term
|
Definition
St. Anne
Leonardo
1503
National Gallery, London
-the representation of the feeligns or affects that relate one figure with another corresponds to the idea of the constant evolution or motion of nature |
|
|
Term
|
Definition
-for leo shadows are a basic component of painting bc tehy determine teh perception of the relief
-the investigation of the geometry of the shadow brought to the analysis fo teh colors and the phenomena of their reflection
-within this area of interest leo arrives at the creation of the sfumato
***which is a delicate gradation of the transition btw light and shadow. |
|
|
Term
|
Definition
1504-1508
Leo
Battle of Anghiari
-fresco for palazzo vecchio |
|
|
Term
|
Definition
1475-1564
1488-1489 enters workshop of the ghirlandaio |
|
|
Term
|
Definition
Madonna of the Steps
1490-1491
Mich.
-Stiacciato-a tech. that helps create a subtle relief taht gives a 3D persepective
-inspired by classical sculpture |
|
|
Term
|
Definition
Battle of the Centaurs
1491-1492
Mich. |
|
|
Term
| What year was the pieta made? |
|
Definition
1497 -roma, san pietro
-compared to the pieta by german, terracotta, 1410 |
|
|
Term
When did Mich. go back to florence?
Years of the david? |
|
Definition
|
|
Term
|
Definition
Tondo Pitti
1503
Mich.
Bargello
-made while workign on david
-baby is natural
-madonna takes up entire space |
|
|
Term
|
Definition
Tondo doni
Uffizi
1503-1504
-used to show world that the sistine chapel's colors were bright during restoration
-no chiaroscuro used
-uses serpentine line
-madonna is spiraled
-made before sistine chapel |
|
|
Term
|
Definition
Battle of Cascina
1504-1508
Palazzo Vecchio |
|
|
Term
When did Mich go to Rome?
Years of Sacristy? |
|
Definition
1508-1512
1519-1524;1530-1533 |
|
|
Term
|
Definition
|
|
Term
| where does mannerism take inspiration? |
|
Definition
|
|
Term
| years of andrea del sarto |
|
Definition
1486-1531
-1494-1498 apprenticed to a goldsmith and thena wood carver who sent himto study with cosimo
-influenced mich and leo
-combined sfumato of leo, composition of harmony of raffaello, solid anatomic structure of mich
called faultless painter
-1510 worked on santissima annunziata fresco(normal picture of life at teh timeafter giving birth, mother stayed in bed and ppl came to visit/slippers/wet nurse by fireplace |
|
|
Term
|
Definition
1517
madonna of the harpies
uffizi
sarto |
|
|
Term
|
Definition
-apprenticed to da vinci and tehn to albertinelli and piero di cosimo
-1512 entered workshop of sarto
-1515 had a distinctive style |
|
|
Term
|
Definition
1518
il pontormo
san michele visdomini
all figures look connected |
|
|
Term
|
Definition
il pontormo
1526-1528
pastel artificial color and action, not supposed to look real
-person at the bottom is misproportioned.. might be self portrait
-twisted stances |
|
|
