Term
| [image]Marriage of the Virgin |
|
Definition
Raphael 1504 Oil on panel - use of one point perspective
- introduces perfect mathematical geometry to canvas
- in comparison with Perugino's:
- priest head breaks free from central axis
- Mary and Joseph switch positions
- hand receiving ring in the foregroud
|
|
|
Term
| [image]La Belle Jardiniere |
|
Definition
Raphael 1507 Oil on panel - The virgin and both babies create a triangular composition
- in comparison with da Vinci's "Madonna on the Rocks"
- use of atmostpheric perspective
- gentle, rhythmic interplay as opposed to enigmatic gestures
- bodies of both children are realistically portrayed
|
|
|
Term
|
Definition
Raphael 1508 Fresco Stanza della Segnatura, Vatican - subject is the discussion of the Transubstantiation
- (wine and host of Eucharist = body and blood of Christ)
- fresco divided into two regions: earthly and heavenly
- monstrance on the altar dictates arrangement in the fresco
- subtle use of atmospheric perspective
- presence of the Trinity
|
|
|
Term
|
Definition
Raphael 1508 fresco Stanza della Segnatura in the Vatican - seen as Rapheal's masterpiece and an embodiment of the High Renaissance style
- Parallel to di Vinci's "The Last Supper"
- Rapheal organizes the figures into groups like Leonardo
- Opening of building serves as frame for key figures
Plato points up and Aristotle points down- Plato = master of cosmology
- Aristotle = master of science
- inclusion of important figures signals their status of the learned community
|
|
|
Term
|
Definition
Raphael 1513 Fresco Villa Farnesina, Rome - subject is greek myth and celebrates the sensuality of pagan spirit
- figures are sculptural and arranged in a spiral movement around Galatea
- Like Michealangelo, Rapheal uses figures in order to create the illusion of space
|
|
|
Term
| [image]Portrait of Pope Leo X with his Nephews |
|
Definition
Rapheal 1517 Oil on panel - Pope represented as a collector and connoisseur as opposed to a spiritual leader
- signaled by his examination of an illuminated manuscript
- clothing add to this idea
- fur-lined
- textures of brocades
- light enters from the right
- window seen on brass ball on chair
- recalls Netherlandish art
|
|
|
Term
| [image]St. Paul Preaching |
|
Definition
Raphael 1515 Cartoon, gouache on paper - power of St. Paul's words are seen through his gestures and individualized expressions in the crowd
- limited perspective to foreground
- similar to Massacio's Branacci Chapel frescoes
|
|
|
Term
|
Definition
Marcantonio Raimondi 1520 Engraving - based on Roman sarchophagus panel
- subjects defined through contours and chiaroscuro (contrast between light and dark)
|
|
|
Term
|
Definition
Michelangelo Marble - change to a calm and transcedent moment between Virgin and Jesus as opposed to a tortured moment
- beautiful as opposed to tormented figures
- echo of Madonna and Child
|
|
|
Term
|
Definition
Michelangelo 1501 Marble - Comparison to Donatello's
- Goliath's head is omitted
- more idealist view of David
- the statue depicts David before he shoots the slingshot
- Contrast to Hellenistic statues
- David is calm and tense as opposed to emotionally charged
- full of potential
|
|
|
Term
| [image]Temptation and Expulsion from Eden |
|
Definition
Michelangelo 1508 Fresco Sistine Chapel Ceiling, Vatican, Rome - figures are full of life
- very close to Massaccio's in terms of emotional drama
|
|
|
Term
|
Definition
Michelangelo 1508 Fresco Sistine Chapel Ceiling, Vatican, Rome - emphasizes relationship between Adam and God
- passage of the divine spark
- depiction of God himself is a new development in art
|
|
|
Term
|
Definition
Michelangelo 1508 Fresco Sistine Chapel Ceiling, Vatican, Rome - another example of male musculature on a woman
- exemplifies the brilliant use of complementary colors on draperies
- a product of Michelangelo's study of ancient sculpture
|
|
|
Term
|
Definition
Michelangelo 1513 Marble Tomb of Julius II, S. Pietro in Vincoli, Rome - concept of terribilita (sublime)
- watchful and meditative pose suggests a man who can lead and have a powering wrath
- horns signify divine favor God gave to Moses
|
|
|
Term
|
Definition
Michelangelo 1525 Marble Tomb of Julius II - unfinished sculpture that provides insight into Micheangelo's working philosophy
- Michelangelo believed every slab of marble contained a figure inside he had to free
- every chisel to the marble suggest a confirmation to Michelangelo's belief in sculpture work
|
|
|
Term
| [image]Tomb of Giuliano de' Medici |
|
Definition
Michelangelo 1519 Marble S. Lorenzo, Florence - triangular formation of figures
- no outright Christian imagery
- replaced by the allegorical figures of Night and Day
- Day (right) is a brooding figure whereas Night (left) is restless
- uses reimaging of Brunelleschian architecture
- later work
|
|
|
Term
|
Definition
Michelangelo 1534 Fresco Sistine Chapel, Vatican, Rome - spiritual agony expressed through extreme contortions of the human body
- Christ is at the center of the wheel of action
- nudity caused controversy with the church and after Michelangelo's death an assistant was comissioned to add cloth
- Self-portrait of Michelangelo
- Bartholomew holds human skin, whose face is Michelangelo's
- represents Michelangelo's train of thought towards the end of his career
|
|
|
Term
|
Definition
Michelangelo Marble - Michelangelo includes a self-portrait in the form of the hooded Nicodemus
- gives form to the idea of personal access to the divine
- compared to his first pieta this is more emotional than aesthetically beautiful
- resonates with a changing philosophy in Michelangelo's life
- unfinished
|
|
|
Term
| [image]St. Francis in Ecstacy |
|
Definition
Giovanni Bellini 1485 Oil and tempera on panel - stigmatization of St. Francis
- St. Francis sees vision of Jesus in the sky and is so enthralled he has the wounds of Christ on his body
- paintings of the subject usually include Christ-this does not
- 1st time a complete landscape setting is seen
- the presence of Christ is infered by the gold light resonating within the painting
|
|
|
Term
| [image]Madonna and Child with Saints |
|
Definition
Giovanni Bellini 1505 Oil on panel - sacra conversazione
- depiction of Madonna and Child admist saints
- simpler and more powerful than Domenico's sacra conversazione
- figures are more comfortably supported inside frame and create a more stable pyramid composition
- instead of the figures being in conversation they are all deep in thought
|
|
|
Term
|
Definition
Giorgione 1505 oil on canvas - the landscape, instead of figures, becomes more important in the painting
- figures are physically smaller than the landscape
- the beginning of a new art tradition
-
- making pictorial equivalents of poetry instead of narratives
- signal of Venecian art where color and light were more valued
|
|
|
Term
|
Definition
Giorgione (sometimes attributed to Titian)
1509 Oil on Canvas - the women in the painting are Muses
- rendered in soft chiaroscuro (light-dark)
- landscapes moves from light to dark passages
- the painting evokes a mood rather than a story
|
|
|
Term
|
Definition
Titian 1518 Oil on Canvas - subject is the mythical story of they people from the island of Andros
- landscape is rich in warm and cool tones
- figures are active and muscular
- Titian sees mythical forms as part of the natural world, not statues but actual humans
|
|
|
Term
| [image]Portrait of a Man with a Glove |
|
Definition
Titian 1520 Oil on Canvas - soft outline and deep shadows
- dark and moody picture
|
|
|
Term
|
Definition
Titian 1526 Oil on Canvas - off center composition with intersection diagonal lines
- Virgin and St. Peter turn to the donor
- elevated columns represent the gateway to heaven
- every figure, except for kneeling donor, is in motion
|
|
|
Term
|
Definition
Titian 1538 - painting may have been intended for a wedding
- women in the background searching in a cassone
- lapdog
- the subject of the painting is making eye contact with the viewer
- use of color records the various textures of the woman's skin
- may suggest a more erotic painting
- lapdog=symbol of faith
|
|
|
Term
| [image]Pope Paul III and his Grandsons |
|
Definition
Titian 1546 Oil on canvas - Pope is portrayed as intelligent, frail, and sly
-
- contrast to Raphael's portrait
- more linear painting with an emphasis on the outline of the figures
|
|
|
Term
|
Definition
Titian 1544 Oil on canvas - mythical representation
- Jupiter tries to seduce Danae in a shower of gold
- in the painting the gold glow is actually painted in gold
- Danae's skin has a soft glowing quality
|
|
|
Term
|
Definition
1576 Canvas - Old Testament and New Testament are represented in the painting by the statues of Moses and the cross
- displays Titian's late style of loose and free sketchy style of painting
- luminous picture with the illusion of atmospheric gold
|
|
|
Term
| [image]Descent from the Cross |
|
Definition
Rosso Fiorentino 1521 Oil on panel - ln comparison with Masaccio's "Trinity" the painting is less stable
- all the figures appear on the same plane
- every figure except Christ are emotionally charged and tormented
-
|
|
|
Term
|
Definition
Jacopo Pontormo 1526 Oil on Panel - resemblance to Michelangelo's first pieta in terms of the position of Jesus and Mary
- difference is there is a sense of a movement away from each other
- no indication of setting
- overexaggerated depiction of bodies
- small heads, long limbs, large hips on women
|
|
|
Term
|
Definition
Parmigianino 1524 Oil on panel - resembles the composition of a mirror/fish-eye view
- elongated hand
- a distinctive feature of his painting style
- he seems eternally young
- demonstrates skill at what the eye can see
|
|
|
Term
| [image]Madonna of the Long Neck |
|
Definition
Parmigianino 1535 Oil on panel - the painting is very elegant with an idealized Virgin
- the Virgin exhibits enormous hips and a sort of airy and boneless hand
- clingy and transparent dress on the Virgin
- the position of the Virgin and Child are reminiscent of the position in the Pieta
- foreshadowing of the pieta
|
|
|
Term
|
Definition
Agnolo Bronzino
1546 Oil on panel - hard, sharp, and linear painting
- very allegorical and mythical painting
- incentuous relationship between Mother (Venus) and son (Cupid)
- Pleasure (half girl, half serpent) handing honeycomb
- Father time pulls back the curtain
- suggest you know it all in time
|
|
|
Term
| Portrait of Eleanora of Toledo and her son Giovanni de' Medici[image] |
|
Definition
Agnolo Bronzino 1550 Oil on panel - shows the continuity of the Medici dynasty by the inclusion of the male heir in the painting
- Eleanora's dress and jewelery denote her of wealth and status
- close correlation with the position of Madonna and Child
- light blue around Eleanora's head suggests a halo
- movement to a distant impersonable portrait
|
|
|
Term
| [image]Saltcellar of Francis I |
|
Definition
Benvenuto Cellini 1540 gold with enamel - Cellini's sole surviving metalwork
- because salt is from the sea and pepper is from the Earth the container is protected by Neptune
|
|
|
Term
| [image]Rape of the Sabine Women |
|
Definition
Giambologna 1583 Marble - subject is from Roman myth
- A band of men invaded a neighboring island and tricked the women into procreating for them
- significant due to the fact that three contrasting figures are united in one action
- wanted to carve a composition that could be seen from all sides
|
|
|
Term
| [image]Assumption of the Virgin |
|
Definition
Correggio 1522 Fresco Duomo, Parma - painted in the interior of a dome
- creates the illusion that the dome converts to the sky
- Virgin in the fresco is deeply foreshortened
- a stepping stone to 17th Century art
|
|
|
Term
|
Definition
Correggio 1532 oil on canvas - based on a myth where Jupiter had an affair with the nymph Io and masked himself as different forms in order to hide it
- human features are seen in the clouds
- right corner of the painting is the outline of a stag
- Christian iconography that is seen in Early Christian Art
- concept is the human heart is longing for God as a stag longs for fresh water
|
|
|
Term
| Christ in the House of Levi[image] |
|
Definition
Paolo Veronese 1573 oil on canvas - originally supposed to be named the "Last Supper" but after being put through tribunal Veronese changed name to "Christ in the House of Levi"
- Christ is the center of the composition
- as opposed to di Vinci's this scene is much more populous and impersonalized
- added details of everyday life for a new sense of reality
|
|
|
Term
|
Definition
Jacopo Tintorretto 1592 oil on canvas - significant part of painting is the turning of the table at an angle
- Christ is still placed on the veritcal axis
- Christ's halo is much larger than all the apostles
- depicts the breaking of the bread
- Christ has a priestly stature
- light is important theme
- oil lamp
- angels forms coming out of clouds
|
|
|
Term
| [image]Burial of Count Orgaz |
|
Definition
El Greco 1586 oil on canvas - emphasized the church's position that art work require salvation and saints serve as intercessors with heaven
- the burial happened in 1323 but El Greco displays it as a contemporary event, including current officials
- color is a big player in the painting
- top tier group is colored differently than the bottom tier group.
|
|
|
