ARHS-102-02 Spring 2012 Test 1: Renaissance Study Guide Exam Format 1. Slide Identifications a.

5 slide identifications (6pts each) b. You will be asked to identify the artist, title and date of 5 artworks. Unless otherwise specified on the slide list, you should write the artists full name. I will accept dates within a decade from the correct year. Some pieces will have a date range. I will accept dates that are within a decade of either the beginning or ending point associated with this work. 2. 3 Comparisons (15pts each) a. First identify each slide (Artist, title, date, medium and location). Each of these items will be worth 1/2 point. Please state the location that I included for the work on your slide list. b. I will provide you with a prompt that will ask you to address certain similarities and differences between the two artworks on the screen. Be as specific as possible and try to focus on the most important elements in the work, integrating appropriate vocabulary. 3. 5 Definitions (5pts each) a. You will be asked to identify a term and state its significance in relation to the material that weve covered or tie it to a particular artwork. In other words, why is this term significant in understanding Proto-Renaissance and Renaissance art (in general)? Or, how does a particular artwork (artist, title, date) illustrate a certain term? Terms Humanism piet Protestant Reformation/ Counter-Reformation polychrome Chiaroscuro- treatmeant and use of lights and darks, to create modeling International style Atmospheric perspective Imitation/emulation Linear perspective (one-point and two-point) Mannerism Grisaille Book of Hours Proto-Renaissance Engraving Renaissance woodcut

Altarpiece (know the parts of an altarpiece, including the predella, and its function) Contrapposto Campanile- bell tower of a church Tempera Lost-wax casting Oil paint Iconography Fresco (buon and secco) Iconology Formal Analysis- visual analysis of artistic form Continuous landscape Continuous narrative Byzantine Art (manera greca)- gold leaf and flatness, wanted it to look different from our world to differentiate from a more spiritual world, used in worship, symbols and postures and poses often reiterated, so flat and no individuality, not meant to be naturalistic 13th Century and 14th- rebirth of culture and looking back at classical times, great schism , church is very important to art production, monastic orders are also patrons black death threatened italys prosperity, stimulated religious bequests and encouraged the summoning of devotional images, blossoming of vernacular 1. Nicola Pisano, pulpit of Pisa Cathedral, baptistery, Pisa, Italy, 1259-1260. Marble. Proto-Renaissance. a. Carried on some medieval traditions- trefoil arches (triple curved) and lions supporting the columns b. Classical elements- round arches, large capitals, resembles a human sarcophagus 2. Nicola Pisano, The Annunciation, Nativity, and the Adoration of the Shepherds, relief panel on the baptistery pulpit, marble (detail) a. Classical compostion very weighty solid figures b. More interest in 3d form- drapey c. Way faces and beards are represented 3. Cimabue, Madonna Enthroned with Angels and Prophets, from Santa Maria Trinit, Florence, Italy, ca. 1280-1290. Tempera and gold leaf on wood. Proto-Renaissance. a. First to move from medieval to renaissance style (break from halo-byzantine style) b. More naturalist attempt of the spiritual world c. Still uses gold, linear style, and composition- reveal painters reliance on byzantine models d. Scale is very important-most important figures are biggest and in center e. 3d of drapery, and deeper space for Madonna to inhabit 4. Giotto, Madonna Enthroned, ca. 1310, from the Church of Ognissanti, Florence, Italy, ca. 1310. Tempera and gold leaf on wood. Proto-Renaissance. a. Trained by cimabue but used live models and was very into observation b. Pose more naturalist and more modeling in the face c. Still has gold backrground d. Throne has more depth, beginning interest in foreshortening, prophets stacked behind one another e. Madonnas body is not lost, its asserted, figure w/ substance dimensionality bulk

5. Duccio, Virgin and Child Enthroned, Siena, Italy, commissioned in 1285. Tempera and gold leaf on wood. Proto-Renaissance. a. More fluid way in which figures represented- more natural individualized faces b. Lots of interest in decorative detail c. Creates a sense of depth d. Composition formality and symmetry derived from byzantine, but he relaxed the strictness and rigidity( softened hard body and outlines) e. Represents sienese art 6. Duccio, Madonna and Child, Siena, Italy, ca. 1300. Tempera and gold leaf on wood. Proto-Renaissance. a. more personal 7. Giotto, Lamentation, Arena Chapel, Padua, Italy, ca. 1305. Fresco. Proto-Renaissance. a. Part of the passion b. Rather than using scale to show importation, uses the diagonal rock c. All figures have their own gestures and emotions d. Beginning of chiaroscuro, uses foreshortening e. Francisicans encouraged art eliciting emotion f. Used grisaille in chapel 8. Arnolfini de Cambio and others, Florence Cathedral. Florence, Italy. Begun in 1296. Proto-Renaissance. (Initial plan). a. Closer to early-christian- not gothic b. Horizontal emphasis on the plan (rather than verticle) not as many windows c. Has an octagonal plan in crossing d. Gothic style: flying buttresses, stress on verticality and lots of windows e. Separate campanile 9. Ambrogio Lorenzetti, Peaceful Country from Effects of Good Government in the City and the Country, (Sala della Pace) Palazzo Publico, Siena, Italy, 1338-1339. Fresco. Proto-Renaissance. a. Used to communicate goals of the council b. Use of illusionist devices: perspective, depth, shadow, stacked buildings c. Landscapes were not used in medieval art, one of the first appearances in western art d. Observation and empiricism becoming more important Early Northern Renaissance- no artistic exchange with Italy yet, protestant reformation, economic resurgence and growth in middle class, private patronage, dukes and churches commissioned lots of works, Bruges was a very wealthy commercial center, development of oil painting (richer colors and more tonality), attention to meticulous detail, symbolism, altar pieces 10. Limbourg brothers, January and October from Les Trs Riches Heures du Duc de Berry (The Very Sumptuous Book of Hours of the Duke de Berry), France (worked in Paris for the Duke de Berry; from the Netherlands), 1413-1416. Illuminated Manuscript. Northern Renaissance. a. Very colorful book- shows how wealthy the patron was, pages meant to be representative of month

b. c. d. e. f.

Combines secular and religious scenes January: new years celebration, cramped, flat, Trojan war in back, represent wealth October: supposed to show how great nobility is, depth of space, shadows, perspective Attention to detail Has lunette

11. Jan Van Eyck, Giovanni Arnolfini and His Bride, Burgundy and Flanders (Netherlands, studio in Bruges after 1432), 1434. Oil on wood. Northern Renaissance. a. Used oil painting- new development b. Double portrait Italian cloth merchant, purely secular with religious overtones c. Document of an event- wedding? Giving his second wife control of business, memorial of deceased wifre? d. In an interior, lots of symbolism e. Artist functions as a witness f. Style: oil, strong attention to luminosity, selective naturalism, texture and colors 12. detail from Giovanni Arnolfini and His Bride 12. Jan Van Eyck, Ghent Altarpiece, Saint Bavo Cathedral, Ghent, Beligum, 1432. Oil on wood. Northern Renaissance. (open and closed) a. Interior- Christ represented in a regal manner b. Subjects are very medieval c. Bottom is a continuous landscape d. Humans are very naturalistic e. Exterior panels depict the donors f. Sibyls- Greco roman mythological female prophets g. Redemption through Christ- entire altarpiece amplifies central theme of salvation h. Example of grisaille 13. Robert Campin, Mrode Altarpiece (open), Flanders (Campin was leading painter of Tournai), ca. 14251428. Oil on wood. Northern Renaissance. a. The anunciation b. Joseph making a mouse trap (to catch satan) c. No linear perspective, figures are huge d. Selective naturalism e. Donor portraits became very popular 14. Rogier van der Weyden, Deposition, center panel from a triptych from Notre-Dame hors-les-murs, Louvain, Belgium, ca. 1435. Oil on wood. Northern Renaissance. a. Descent from the cross b. Dynamic compositions stressing human action and drama c. No landscape- golden low stage imitating a large sculpture d. Depicts the agony of loss- emotional effect on the viewer 15. Matthias Grnewald, Isenheim Altarpiece (closed and various openings), from the Chapel of Saint Anthony, Isenheim, Germany, ca. 1510-1515. Oil on wood. Shrine carved by Nikolaus Hagenhauer, ca. 1505. Painted and gilt limewood.

a. Adjacent to monastery hospital so it has a lot to do with healing saints b. iconography 16. Albrecht Drer, Self-Portrait in a Fur Cloak, Holy Roman Empire (from Nuremberg), 1500. Oil on wood. Northern Renaissance. a. Continuing of artist as an individual b. Very Christ-like artist as an important individual 17. Albrecht Drer, The Fall of Man (Adam and Eve), Holy Roman Empire (from Nuremberg), 1504. Engraving. Northern Renaissance. a. Each animal represents a humor, imbalance of humors is caused by disobeying god b. Elements from northern renaissance: naturalistic poses and bodies, detail in naturalistic setting c. Foreshortening chiaroscuro and symbolism 18. Albrecht Drer, Four Apostles, Holy Roman Emperor (from Nuremberg), 1526. Oil on wood. Northern Renaissance. a. Thought to be a testament to new religion conversion b. Bibles are very important to the Lutheran faith c. All attention is on the figures, none on background, faces not idealized d. Example of reformation 19. Hieronymous Bosch, The Garden of Earthly Delights, Netherlands, 1505-1510, Oil on wood. Northern Renaissance. a. Patronage allowed artists to be more creative b. Secular- viewership was more privates it was meant for intellectuals c. Might have been made for a wedding/ warning of fate of sinners d. Grisaille image of earth on the 3rd day- god watching e. Left panel-garden of eden, god in form of Christ, owl (wisdom and folly) f. Right- torments of hell g. Piece is about alchemy? 20. Hans Holbein the Younger, The French Ambassadors, Holy Roman Empire (Worked in England), 1533. Oil and tempera on panel. Northern Renaissance. a. Court painter, related to humanists b. Could be reflecting on tension of church and state c. Anamorphic skull- symbol of mortality d. Attention to accurately rendering body and garments e. Top shelf: exploration of the world bottom: music and spiritual realm 21. El Greco, The Burial of Count Orgaz, Spain, 1586. Oil on canvas. Northern Renaissance. a. Commission by orgaz family, altarpiece b. Captures miacles associated with count orgaz burial c. Heavenly and earthly realm : difference in compositions and light between realms d. Attention to detail but not much depth 22. Juan de Herrera and Juan Bautista de Toledo, El Escorial, near Madrid, Spain, 1563-1584.

a. Spain is very powerful at this time, supposed to be a monastery/palace b. Drawn from Italian tradition and classicism c. Modeled from a gridiron- referencing martyrdom of saints 23. Leonardo da Vinci (or Leonardo), Mona Lisa, Florence (moved to Milan in 1481 remained there for approximately 20 years), 1503-1505. Oil on wood. Italian Renaissance a. No jewelry or representation of wealth b. view is new trend in portraiture convincing representation of an individual c. focus on natural landscape and atmospheric perspective d. sfumato- smokiness figures emerging from background 24. Raphael, Marriage of the Virgin, from the Chapel of Saint Joseph, San Francesco, Citt di Castello, Italy, 1504. Oil on wood. Italian Renaissance. a. Good representation of linear perspective b. Central plan temple in background c. Foreshortening some landscape, monumental figures d. Golden legend 25. Michelangelo, Piet, ca. 1498-1500. Marble. Saint Peters, Vatican City, Rome. Italian Renaissance. a. Uncommon in Italy (pieta) b. Meant to evoke sense of passion continuity in death and life c. Mary is enormous- she becomes the altar, monumentality is a renaissance convention d. Details realistic but idealized sensitivity to texture 26. Michelangelo, David, from Piazza della Signoria, Florence, Italy, 1501-1504. Marble. Italian Renaissance. a. Much taller than Donatellos, very classical b. Contapposto pose c. Anatomy and body parts alerts viewers to the triumph to come d. Had classical nude in mind e. Compositionally and emotionally connected to an unseen presence beyond the statue 27. Michelangelo, Creation of Adam, detail from ceiling of the Sistine Chapel, Vatican City, Rome, Italy, 1511-1512. Fresco. Italian Renaissance. a. Adam is passive and god is active b. emphasis on figures and bodies c. rejected the traditional iconographic representation d. replaced straight architectural axes found in leos compostions w/ curves and diagonals. 28. Titian, Venus of Urbino, Venice, 1538. Oil on canvas. Italian Renaissance. a. Reclining female nude b. Richness of color- plays a prominent role c. Masterfully constructructed the view backward into the room and the division of space into progressively small units

29. Parmigianino, Madonna with the Long Neck, from the Baiardi Chapel, Santa Maria dei Servi, Parma, Italy, 1534-1540. Oil on wood. Italian Renaissance Mannerism. a. Diverged from stability of high renaissance work b. mannerism- stylistic type of painting artificiality c. elongated figures, coloring, scale is off 30. Filippo Brunelleschi, dome of Florence Cathedral, Florence, Italy, 1420-1436. Architecture. Italian Renaissance. 31. Lorenzo Ghiberti, Isaac and His Sons (detail), east door of baptistery, Florence Cathedral, Florence, Italy, 1425-1452. Gilded bronze relief. Italian Renaissance. a. Linear and atmospheric perspective b. Continuous narrative c. Lost wax casting 32. Donatello, David, Florence, 1440-1460. Bronze. Italian Renaissance a. Intended for medicis palace, appealed to them because of humanist ideals b. Based on old testament story of david and goliath c. Contrapposto pose after the victory, idealized representation d. Devid became the symbol of Florence- emphasized citizen superiority e. First representation of male nude statue since classical times 33. Masaccio, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco. Italian Renaissance. a. Continuous narrative from the gospel of matthew b. Represents a miracle and tied to chapel because of peter c. Uses linear and atmospheric perspective d. Importance of observation and classical painting- consistent source of light (chiaroscuro), foreshortening is used, spiritual is made more human, light has its own nature e. Arrangement of figures creates depth/ no stage space 34. Botticelli, Birth of Venus, Florence, ca. 1482. Tempera on canvas. Italian Renaissance. a. Observed ancient statue for venus- female nudes were very rare b. Focusing on neo-platonic view of beauty: perfection and not reality c. Some foreshortening but very flat d. Distinct style, elegant and beautiful linear style, very flat, but visual poetry 35. Botticelli, Primavera, Florence, 1482. Tempera on wood. Italian Renaissance. a. Very flat/ less concerned with 3d, not much depth b. Philosophical representation of beauty (earthly and divine) c. Neo-platonic subjects d. Was commission for a wedding by the medicis- focus- love, marriage and fertility e. Reflecting on 2 kinds of love: faith and reason (mercury) and passionate and violent ( Zephyrus) f. Classical representation of human form and garments (clings to body) 36. Leon Battista Alberti, west faade of SantAndrea, Mantua, Italy, designed ca. 1470. Italian Renaissance.

a. Wrote on the art of building- emphasis on ideal proportions and central plan b. Temple design and engaged instead of freestanding columns emphasize verticle and horizontal proportions c. Triumphal arches d. One open nave space, sense of unity, greater ceremonial focus e. Strong concern for proportions 16th Century Italy- protestant reformation and counter reformation, art is seen as icon, popes exploited power of art to express ideological claims. Protestant: personal faith and individualism, High Renaissance: 1490-1527 pinnacle of art production. Oil painting, patronage is on the rise. Realism becomes more acceptable. Movement towards more realistic representations of religious scenes. Humanism- focus on exploration of natural world.artist genius developed. Renaissance Humanism- elite circles. Education and expanding knowledge, especially of classical antiquity, explortation of individual potential and desire to excel, commitment to civiv responsibility and moral duty.