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Definition
Nike of Samothrace
Marble statue
300 BC
Wet drapery technique, shows a woman's body without actual nudity, was on the bow of the boat, now in the Louvre
Goddess of victory - if she lands on your side, you win |
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Kouros (boy)
700 BC
Stone
Standing straight up, no facial or character-related traits - just symbolic of a boy rather than realistic, given as gifts to gods, contrapposto |
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Kritian Boy
Kritios
500 BC
Still no facial character, but has a slight change in stance (shows movement), softer and more accurate proportions - contrapposto, goal is to show ideal, free-standing so that viewers can enjoy from all angles |
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Riace Warriors
Bronze statues
450 BC
Bronze was expensive and difficult to sculpt, also more elegant than marble, show more examples of idealism in sculpture (rather than realism) |
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Baptistry of St. John
Romanesque building, marble surfaces
Florence
1100 AD
Octagonal shape (8 represents Resurrection), geometrical pattern
Three doors (4th side was for altar), East was most important and only an exit (toward the church), two for entrances
Big competition to decorate doors in 1401 started Renaissance art period, Ghiberti won
South door = episodes from life of St. John, Ghiberti did North and East |
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Diskobolos
Roman copy of Greek bronze statue
Myron
450 BC
Detail is very specific and realistic, far more advanced technique - can see a vein in the arm and count the ribs, Olympiad because they had close to ideal bodies, in movement to show off anatomy |
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Annunciation
Donatello
1435
Donatello gravitated toward the themes of the Annunciation and the Crucifixion
Note Mary's scared position (REALISM)- not fully servile and adoring as in other representations, also carrying book to show her smarts, wet drapery |
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| Greek sculptor and doctor, invented (measured) perfect proportions and perfect position for a naked human being (contrapposto) |
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Position used in sculpture (counterpoised)
One side opposite to the other, weight totally on one leg while other is relaxed, head and torso slightly twisted |
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Kore
700 BC, 520 BC, 300 BC
Female sculptures were unusual, like Kouros symbolic instead of realistic
Emphasis on decoration - see jewelry and hair details
**she won't ask us to ID this one, but it might come up in a question |
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Renaissance movement begins with Baptistry door competition in 1401
Seven major guilds competed to make their areas of town most impressive and most beautiful, Baptistry associated with Arte della Calimala (wool merchant's guild) |
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Sacrifice of Isaac
Ghiberti
1401
Bronze relief
Won the competition, shows more of the Classical style, made with one pour of bronze
Less violence and fear in style, softer and smoother, relaxed
Isaac is in contrapposto position, is brave and idealized, looking into father's eyes |
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Sacrifice of Isaac
Brunelleschi
1401
Bronze relief
Creates fear in viewer, Abraham is almost crying, Isaac is crying
Heavier than Ghiberti's version
Far more violent, more realistic rather than Classical (which was the point of the competition) |
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Thorn-Puller
Anonymous sculptor
Brunelleschi's relief shows a reference to this common theme in his Sacrifice of Isaac to highlight his understanding of Classical art |
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Eastern Doors (Gates of Paradise)
1425-1452
Gold/mercury gilded
Ghiberti
Brunelleschi discovered perspective after locking himself away, Ghiberti used his discovery in the Eastern doors
Painted with mercury-blended gold
10 scenes using perspective, scenes from the Old Testament |
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Northern Door
Ghiberti
1402-1424
Bronze reliefs
Everything is straightforward and simple, scenes from life of Jesus
28 scenes |
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South Doors
1329-1338
Andrea Pisano
Episodes from life of St. John the Baptist
Only doors completed before 1401 competition |
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Mary Magdalene the Penitent
Donatello
1453-1455
Wood sculpture
Wood is not elegant or rich, shows Mary's raggedness and ugliness, poverty, complete abandonment of her looks (she was a beautiful woman before)
Contrapposto position, hands in prayer mode
SYMBOLIC, not realistic |
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David
Bronze statue
Donatello
1430-1452
Is it really David? Adolescent, almost sensual, naked (unusual at the time), not a strong, powerful, ideal man, kind of effeminate
In Medici palace - important because it was freestanding and clearly supposed to be admired from all angles for beauty, not Biblical importance
He's like a Classical hero here instead of a Biblical figure
Some historians suggest that it's actually Mercury or Hermes - hat is similar, there's a wing, bag doesn't seem to hold rocks |
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Crucifixion
Sculpture
Donatello
1409-1420
Shows clearly dead face (not sleeping), expanded chest cavity and pulling shoulders - very realistic and accurate, not like others of the time
Shows Donatello's ability in realism
For Angela: this one has shorter hair. |
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Crucifixion
Brunelleschi
Sculpture
1409-1420
Jesus looks like he's sleeping, slight pulling of arms but nothing like Donatello's very accurate body position, almost looks relaxed on the cross instead of in pain
Not as realistic, more peaceful |
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Term
| 5 Rules of the Baptistry Door Competition |
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Definition
1. Theme: Sacrifice of Isaac
2. Include 5 human figures
3. Include 2 animal figures
4. Made of bronze
5. Show understanding of Classical art concepts and techniques |
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S. Giorgio in the Niche
Donatello
1415-1417
Marble sculpture
formerly outside the church of Orsanmichele
BEFORE Rome - doesn't show clear understanding of Classicism
Not freestanding, not expressive (only Classical attribute is the contrapposto position)
Important part is the relief underneath ("predella", done in 1418-1419), which tells important information about the main figure:
- "stiacciato" technique where figures are flattened
- about the Golden Legend by James Voragine in 1265, George kills the dragon
- Shows George as important for what he did, not how he looks in the relief |
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Justinian and his Court
547 AD
San Vitale Church, Ravenna
Mosaic
(used as background for Renaissance art)
Unrealistic, same faces and bodies on each person, feet are not actually on the ground - the point was just basic understanding, not realism
(Realism becomes a movement in Gothic Age) |
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Miniature painting on a page of the Gospel
7 AD
Painting
No representation of distance, no proportion, anatomy is all incorrect, faces and bodies are all the same with different outfits
Can tell Jesus by his cross halo and blessing fingers, representation without realism
Point is understanding - that's it! |
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Example of an Altarpiece
(background for Renaissance art)
Definition - painting on wood displayed above altar of church
Predella - base (know this term)
Pilaster - poles on the sides that give it structure
Pinnacle - points at the top
Named by number of parts - diptych (2), triptych (3), polyptych (multiple)
First thing you see when you enter the church
When analyzing, you usually focus on the center |
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Triumphant - Jesus is alive and awake
Patient - Jesus is dead (or sleeping) |
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Columns
right to left: Doric, Ionic and Corinthian (DIC)
Doric - PLAIN
Ionic - two little curlicues at the top, still relatively simple
Corinthian - ridiculously flowery and decorative |
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Parthenon
Greek temple to Athena
Everything is symmetrical and even, perfect example of Classical architecture |
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Painted Crucifixion with "Jesus Patient"
1290-1302
Giotto
S. Maria Novella Church
Florence
Gothic painting - shows new movement of painting Jesus as a weak man (instead of the previous alive, peaceful, "winner" Jesus)
Giotto - first Renaissance artist, even though Cimabue and Pisano kind of started the movement of dead Jesus paintings
Not realistic like Donatello's Crucifixion, but remarkable for the time because of the accurate anatomy - body shows pain and suffering
Skull on the rock at the bottom is a symbol of death, Mary and St. John next to cross
Light creates shadow, shade, depth and VOLUME - important new development |
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Maestà (Madonna Enthroned with Angels and Saints)
Cimabue
1285
Galleria degli Uffizi
Florence
Anatomy isn't right, neither is face - Cimabue isn't all that interested in realism, more in symbolism
Mary wears red and blue, sitting on throne as the Queen of Heaven
Mary is always with Jesus, who has a halo and a cross and is never really a baby
Angels shown by gold and halos, clouds |
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Maestà (Ognissanti Madonna)
Giotto
1310
Galleria degli Uffizi
Florence
Proportion is much better than Cimabue's, draping is softer, nicer shadows, face is more human
Giotto was the first painter to recreate frescoes after the Romans, covered the Scrovegni Chapel with them |
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Scrovegni Chapel (Interior) in Padova
Entirely frescoed by Giotto
1304-1306
Stories of the life of Jesus
No architectural divisions on surfaces, so he could divide it however he wanted
Liked to juxtapose happy scenes with scenes of evil to emphasize their messages and importance
Giotto was an expert at drama and expression of emotion |
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Massacre of the Innocents
Giotto
1304-1306
Scrovegni Chapel, Padova
Fresco
When King Herod was killing all of the male babies Jesus's age
Very natural organization and positions of people
Killers have nasty, scary faces
Expressions are real, first tears ever shown in art - Giotto is an expert at emotion |
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Deposition from the Cross (Lamentation)
Giotto
1304-1306
Fresco
Scrovegni Chapel, Padova
Jesus being taken off of the cross (dead)
Mary Magdalene often seen at Jesus's feet because she cleaned his feet with her hair
Scenes are simple with great attention to detail and freedom with facial expressions |
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| Gave Giotto the chance to showcase his new style and meanings... somehow... |
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Top of hill in Florence, next to Piazza Michelangelo
Romanesque style - simple and plain, dark, columns are stone instead of marble
Divided into 3 parts - room for regular people, platform for priests and crypt for the dead
Raised platform for priest - would shout to make people afraid of the power of God
Top of building was done later in the decorative Gothic style, as were all decorative paintings, frescoes, marble and mosaics
Mosaic - shows Jesus, Mary and San Miniano
Eagle - St. John, protector of Florence
Lion (winged) - St. Mark
Angel - St. Matthew
Ox - St. Luke |
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BIG.
Arches are much higher than San Miniano, pointed to visually raise ceiling
Many large, colorful windows (covered by scaffolding when we visited), circular stained glass as focal point
Frescoes (destroyed in WWII)
Contains a number of Donatello's sculptures (Annunciation and Crucifixion) and Cimabue's crucifixion
Built at the end of 1200 by Arnolfo di Cambio, facade from 1800 by Nicolo Matas
REOPENS NOV. 30th |
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