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Caravaggio, The Calling of St. Matthew, 1599-1600, oil;
Italian Baroque, Counter-Reformation;
In a chapel with other paintings of St. Matthew;
Uses naturalism (ordinary people outside a tavern) and tenebrism (contrsasts light and dark) |
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Botticelli, The Birth of Venus, 1485, tempera;
Italian Early Renaissance;
Painted for the Medici family;
Shallow modeling, emphasis on outline -> weightless |
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Bramante, Tempietto (Rome), 1502-11;
Italian High Renaissance;
Built for Spanish monarchs Ferdinand and Isabella at the site of St. Peter's crucifixion;
Evokes circular Roman temples;
Wanted to include a circular, colonnaded courtyard |
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Bernini, David, 1623, marble;
Italian Baroque;
In the act of fighting the implied Goliath;
Vitality and energy |
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Artemisia Gentileschi, Judith and Her Maidservant with the Head of Holofernes, 1625, oil;
Italian Baroque;
One of few female artists;
Jewish widow Judith got Assyrian general (about to attack the Jews) drunk, and cut off his head;
Theatrical gestures and scene (tenebrism from candle) |
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Brunelleschi, Dome of Florence cathedral, 1420-36;
Italian Early Renaissance;
Based on study of Gothic, Roman, Byzantine, and Persian buildings;
It was a feat to engineer a way to put a dome on this rectagular building |
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Michelangelo, Sistine Chapel ceiling (Vatican), 1508-12, fresco;
Italian High Renaissance;
Center features 9 scenes from Genesis;
Edges show prophets and Christ's ancestors |
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Campin, Merode Triptych, 1425-30, oil;
15th Century Northern Europe (Belgium);
Annunciation in a contemporary house w/ symbolism through the lillies, candle, and Joseph's mousetrap |
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Donatello, David, 1420s-60s, bronze;
Italian Early Renaissance;
Made for the Medici palace courtyard;
Young David stands upon Goliath's head after the battle;
Symbol of FLorentine civic virtue, viligance, and victory over tyranny |
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Raphael, The School of Athens (Vatican), 1508-11, fresco;
Italian High Renaissance;
On the walls of Pope Julius' library with other scenes of humanism;
Plato points up, Aristotle points down;
Idealists on the left, empiricists on the right |
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Albrecht Durer, The Four Horsemen of the Apocalypse, 1498, woodcut;
16th Century Northern Europe (Germany);
Travels allowed him to synthesize Flemish technique with Italian Renaissance lessons (energy, volume);
Prints made for the open market, not individual patrons;
Image shows War, Conquest, Famine, and Death overrunning the Earth (book of Revelation) |
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Leonardo da Vinci, Mona Lisa, 1503-05, oil;
Italian High Renaissance;
Young woman in simple garments in front of a sfumato landscape, looking at the viewer;
Layers of color create the image, with a gentle light from within |
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Jan van Eyck, The Arnolfini Portrait, 1434, oil;
15th Century Northern Europe (Holland);
Symbols include the removed shoes (holy ground), the dog (fidelity), the fruit (wealth/temptation), and the single candle;
The mirror creates depth and depicts van Eyck (maybe) |
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Leon Battista Alberti, Palazzo Ruccellai (Florence), 1446-51;
Italian Early Renaissance;
Modeled after the Coleseum;
Columns, arches, and the stones' scale and style change with the 3 floors to show their development over time |
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Giotto, Madonna Enthroned, 1310, tempera;
14th Century Italy;
Madonna and child against a golden background;
Fabric, throne, modeled faces, and overlapping crowds give the illusion of three-dimensionality |
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Michelangelo, David, 1501-04, marble;
Italian High Renaissance;
In the Palazzo della Signoria (seat of Florentine government), showed Florence's republican virtues;
Anxiously and tensely awaits the battle (emotion through muscle) |
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Grunewald, Isenheim Altarpiece, 1509-15, oil;
16th Century Europe (German);
Painted for the hospital of the monastery church of the Order of St. Anthony;
Shows many scenes of Christ's life, including a gruesome image of him on the cross, and a beautiful resurrection image;
Color and technique from the Renaissance, but main goal was emotion, not weightiness |
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Masaccio, The Holy Trinity, 1425, fresco;
Italian Early Renaissance
In Santa Maria Novella;
First painting to use linear perspective! |
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Michelangelo, The Creation of Adam (Sistine Chapel ceiling), 1508-12, fresco;
Italian High Renaissance;
Depicts God giving Adam the divine spark (a soul);
Shows human's relationship with God |
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Stages of the Renaissance
(with years and traits) |
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Proto-Renaissance (1300-1400): North: realism of particulars, merchant-class patrons, guild system; South: structural realism
Early Renaissance (1400-1495): self-awareness, study of Greece and Rome and human works, rivaled nature with perspective, oil paints, and printmaking; Medici
High Reniassance (1495-1520): artists were celebrated and famous ('genius'/'divine'), idealized nature, used forms of antiquity, balance, clarity, emotion; church, rulers
Late Renaissance (1520-1600): during Protestantism's birth; Mannerism rejected the Renaissaince's standards of proportion and ideal forms |
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