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Period: Nov 5, 1483 to Nov 5, 1555
Renaissance
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Nov 5, 1485
Madonna of the Rocks
Leonardo da Vinci
Tried to figure out drawing
Eyes and lips, eyes window to the soul. -
Nov 5, 1495
Last Supper
Leonardo da Vinici
Captures the moment of "One of you will betray me"
This is the reaction to it, movement, turning, gestures, conversation. Three distinct groups
Everyone is different.
Vanishing point is behind christ. Made possible by the corners of the table and the rows of tapestry that leads the eyes to center.
Instead of Halo behind christ there are three windows. Representst the trinity. -
Nov 5, 1500
Libyan Sibyl
Michelangelo
Red chalk drawing
No female models at the time.Young males were observered and then drawn with more feminie features.
Renders muscles by using light and shading
Looks like a marble statue
Has ideal proportions/features
Twisting body creates upward movement like a flame -
Nov 5, 1501
David
Michelangelo
In Florence
He has an ideal body but it is not fully matureed
Contraposto.
Meant to only be viewed at one angle which is straight one. Losses it's affect otherwise -
Nov 5, 1503
Mona Lisa
Da Vinci
Mona=My lady
More realistic/ fuller than most Italian portraits
Posture/ facial expression= energy
Colors and patterns in clothing match the landscape -
Nov 5, 1504
Doni Holy Family
Michelangelo
Round images= birth trays
Upward movement is created because Mary is in the center and kneeling down while she is looking up at Jesus who is on her shoulders.
Her arms look sculpted and muscular
Angels in the background don't have halo's and wings to depict their holiness but are simply nude people.
Essentuates Curves and muscles -
Nov 5, 1505
Star of Bethelehem
Leonardo da Vinci
Life force and energy,
Fascination with river and rocks -
Nov 5, 1508
Madonna of the Meadows
Raphael.
Pyramid shape= stability
Learned monumental scale from Leonardo
Redcued palette
Emphasis on Facial expression
Head in clouds
Harmonious light from some source
Oil on paper
Balance of natural/ ideal -
Nov 5, 1509
School of Athens
Raphael
Revival of ancient learning in the spirit of the Renaissance
Vatican City
Plato and Aristotle in the center. Vanishing point
Fresco
Dome/ Architecture detail -
Nov 5, 1509
Sistine Chapel
Compilation
Muscles,
Idealistic beauty
Upward movements
Fresco
Had to make the scale big so people could see from the ground.
Chronological storyline from creation of night and day and Christ's story
Drunkeness of Noah, Creation of Adam, Genisis -
Nov 5, 1510
Isenheim Altarpiece 16thNEuro
Matthias Grunewald
Front
Made for a monestary that hospitalized those who had diseases.
Throught the image of the body of Christ they could relate to the suffering. Matted hair, thornes piercing through skin, fallen head, dry mouth, caved stomac.
Everyone has exaggerated/emphisized hands.Christ/Magdalene, John. -
Nov 5, 1510
Isenheim Altarpiece 16thNEuro
But when opened there are glorified pictures of annunciation, clestial concert, virgin and Christ at nativity and the resurrection.
In the ressurection christ rises up out of tomb knocking over sleeping solidiers. Scars turned into rubies and gave patients of hope through Resurrection -
Period: Nov 5, 1510 to Nov 5, 1565
The Sixteenth Century in Northern Europe
Revival of antiquity more so than art itself. It was the Time of Martin Luther. The church was power in the militant sense. -
Nov 5, 1513
Galatea @ Villa Farnesina
Raphael
Twisted body, movement and motion
Lover in the sky
Creates a figure 8 through the focus of the subjects
United compostion with her in the middle.
Fresco -
Nov 5, 1513
Knight, Death & Devil - 16thN.Euro
Albrecht Durer
Was a man of detail. This was made by incising cooper out of a cooper plate and diping ink.
This would have been an extremely difficult image to draw but it is harder to engrave. Had to create negative space then dip in ink.
It was cheaper because once made multiple copies could be produced.
Is a Christian Knight who looks forward past death, the devil, sickness and sadness because of his virtiuous practices. -
Nov 5, 1525
Descent from the Cross- Mannerism
Jacopo Pontormo
No cross or tomb in this picture, it is a transitional moment
Mary is about to swoon and fall
Hands of lifeless Christ.
Christ seems almost weightless because of the stance and step of the men carrying him.
Christ is considered the second adam and Jacopo takes the hands from the creation of adam and applies them to this photo. There is no one in the center of this photo and instead of saturated color, there is a changing of color through shades and intensity -
Period: Nov 5, 1525 to Nov 5, 1547
Mannerism
Mannera is the word for style in Itamian. So works during this period were considered stylish. They took ideas from the High Renaissance and added more style and detail to it. Where do we go after the perfection of the High Renaissance -
Nov 5, 1526
Four Apostles- 16thNEuro
Albrecht Durer
John, Luther, Peter
John the Evangalist is in front of Peter who has the keys to heaven.
There is not much to focus on in this picture except for the facial expressions and the drapery. Drapery was subdued and hormonious instead of decorative.
This was not decorative but rather Monumental -
Nov 5, 1534
Uffizi Madonna- Mannerism
Parmigianino
Adopted Raphael's style from Madonna of the Meadows.
Drew something over and over again to try to capture the right composition and to convey the correct emotion.
Instead of solely creating a monumental figure he created one that was also graceful. Long neck, nose fingers and curved clothing. Decorative and small face framed by curly hair. -
Nov 5, 1546
Saint Peter's Basilica
Completely redone by Julius the 2nd
Michel took over the project with a diagonal plan
He had more of a sculptural interpretation. It was meant to be looked at by the front -
Nov 5, 1546
Cupid, Folly and Time- Mannerism
Bronzino
Venus is in the center and is being embraced and kissed by her son cupid. Venus is an idealized figure with marble like skin in texture and is saturated in color. This is an answer to Michelangelo's Holy Family.
Women pulling her hair out in the back represents envy.
Father time is in the back
Puto is about to throw roses on Venus and cupid -
Nov 5, 1547
Florence Pieta
Michelangelo
Jesus, Mary, Magdalene, Nichadimus which was a self portrait.
Hammered Jesus' legs with a malette and had to be stopped by his students. He wasnt happy with its outcomes. -
Nov 5, 1554
Rondanini Pieta
Michelangelo
Wasn't finished because of death
Scale is supposed to be larger which can be seen from the extra oversized arm.
This means he made a mistake or wanted to take a different direction with the sculpture.
Features of dead christ resembles him.
Renoucnced his work at the end of his life. He thought he had too much pride his work and saw it as guiltless. Became religious but was still unsatisfied. -
Nov 5, 1559
Netherlandish Proverbs
Pieter Brugel
Extremely detailed and one could spend hours looking at it analyzing the stories of each figure
Figures enacting proverbs both private and public
It was meant to represent the foolishness of humans. Beware of the follys of humankind.
Beating head against the wall, tying devil to pillow, woman putting blue cloak on husband. -
Nov 5, 1565
Hunters in the Snow 16thNEuro
Pieter Bruegel
Commissioned by wealthy person to do paintings of the seasons. This is the winter.
It has a vast landscape and you can go from place to place in the terrain becasue it is so vast
Shows peasants woho till the land or those who are coming back from hunt with little to show for it.
The snow rests on the limbs of trees and the sky looks bloated. Frozen mill wheel, water, chimney, fire house.
Landscape -
Bacchus
CARAVAGGIO
Has on a ridiculous headdress, offering wine, hands sunburned, dirty nails, rotten fruit.
There is an erotic element to this photo
Unlike his peers he does not use ideal narrative. He is a realist -
Period: to
The Baroque in Italy
Baroque means uneven shell or pearl. It was used to describe 17th century art even though works are not similar to each other. This can be seen as a reform movement that was not only artistic but cultural as well -
Loves of the Gods
Annibale Carracci
@ Farnese Palace in Rome
Palace is now the embassy. In a barrel vaulted room there are stories of Gods falling in love on the walls. Painted frames around them. Got the idea from Sistine chapel. Large paintings in the middle, in the corners there are sculptural ones opening up the sky. Annibale's figures are more realistic and recognizable. Ex. Hercules is captured by Queen and becomes more feminine as time goes on = Love makes you foolish. Paintings done in even light.galletea -
Flight into Egypt
ANNIBALE CARRACCI
1st intrest in landscape by Italians
Carefully balanced composition with Fort and waterfall in the center
Interlocking diagonal grass planes
Small figures unlike usual monumental ones -
Conversion of Saul
CARIVAGGIO
Saul was on his way to persecute Christians. He was blinded by light and then falls.
Light comes from off the side of a horse.
This is an emotional compostition that draws people into it.
He is sightless during the conversion. -
Pieta
ANNIBALE CARRACCI
No longer created elongated proportions and they were now more naturalistic
Angel holds christ's hand and other one touches the thorns and looks at us. How do they feel?
Skin is no longer like marble which also makes it more realistic.
Has Pyramid of the High Renaissance
