ART 261: Test #1 (Slide Lists 1-3)

Giotto, The Lamention, Arena (Scrovegni) Chapel, Padua, 1305-1306 (13.20)

Duccio, Madonna Enthroned, center of the Maesta Altar, Ruccellai Madonna, 1308-1311 (13.22)

Duccio, Annunciation of the Death of the Virgin, from the Maesta, Ruccellai Madonna, 1308-1311 (13.23)

Duccio, Christ Entering Jerusalem, from the Maesta, Ruccellai Madonna, 1308-1311 (13.24)

Simone Martini, Annunciation, ca. 1330 (13.25)

Ambrogio Lorenzetti, The Allegory of Good Government, Good Government in the City, and Good Government in the Country, 1338-1340, Sala della Pace, Palazzo Pubblico, Siena (13.27)

Ambrogio Lorenzetti, Good Government in the City, 1338-1340, Sala della Pace, Palazzo Pubblico, Siena (13.28)

Ambrogio Lorenzetti, Good Government in the Country, 1338-1340, Sala della Pace, Palazzo Pubblico, Siena (13.29)

The central aisle of a Christian basilican church, as distinguished from the side aisles, extending from the entrance to the apse or transept. Brunelleschi, Nave of San Lorenzo.

Name for the Italo-Byzantine style created when artists from Greece & Turkey brought the Byzantine tradition to Italy. Bonaventura Berlingheri, panel from the St. Francis Altarpiece, 1235.

Technique of paining on plaster with pigments ground in water so the paint is absorbed by the plaster & becomes part of the wall. Buon ("good") Fresco: Plaster wet when painted; Fresco Secco ("dry"): Plaster dry when painted. Giotto, The Lamentation.

Medium for painting in which pigments are suspended in egg yolk tempered with water or chemicals; this mixture dries quickly, reducing the possibility of changes in the finished painting. Duccio, Maestà Altar.

Individual or institution that commissions a work of art from an artist. Enrico Scrovegni, patron of Giotto, Scrovegni (Arena) Chapel.

Patron of Giotto, Scrovegni Chapel (brought Giotto to Padua). Rich merchant from family of usurers, commissioned chapel to buy salvation for himself, atone for his family's sins; also to show off his wealth/social status. Depicted in Giotto, Last Judgement.

The artistic technique of rendering the illusion of volume on a two-dimensional surface by shading.

A painted or carved work of art placed behind and above the altar of a Christian church. It may be a single panel or a triptych or a polyptych, both having hinged wings painted on both sides. Duccio, Maestà Altar.

An altarpiece or devotional work of art made of several panels joined together, often hinged. Hubert & Jan van Eyck, Ghent Altarpiece.

The base of an altarpiece, often decorated with small scenes that are related in subject to that of the main panel or panels. Duccio, Maestà Altar.

Gentile da Fabriano, Adoration of the Magi, 1423 (15.21)

Ghiberti, Sacrifice of Isaac, 1401-1403 (15.2)

Brunelleschi, Sacrifice of Isaac, 1401+1403 (15.1)

Donatello, St. Mark, ca. 1411-1413 (15.11)

Donatello, Gattamelata (equestrian statue of Erasmo da narni), ca. 1445-1450 (15.14)

Donatello, David, bronze, ca. 1420's-1460's (15.33)

Ghiberti, Gates of Paradise, east doors of the Baptistery of San Giovanni, Florence, 1425-52 (15.16)

Masaccio, The Holy Trinity with the Virgin, St. John, and Two Donors, ca. 1425 (15.23)

Masaccio, left wall, Brancacci Chapel, Florence, ca. 1425-1427 (The Tribute Money) (15.24)

Masaccio, right wall, Brancacci Chapel, Florence, ca. 1425-1427 (15.25)

Masaccio, The Tribute Money, from the Brancacci Chapel, Florence, ca. 1425 (15.26)

Masaccio, The Expulsion of Adam and Eve from Paradise, from the Brancacci Chapel, Florence, ca. 1425 (15.27)

Uccello, Battle of San Romano, ca. 1438 (15.38)

Piero della Francesca, Resurrection, San Francesco, Arezzo, ca. 1463 (15.43)

Mantegna, Camera Picta, Ducal palace, Mantua, 1465-1474 (15.49 & 15.50)

Brunelleschi, Nave of San Lorenzo, Florence, ca. 1421-1469 (15.7 & 15.8)

Brunelleschi, cf. to Masaccio, Holy Trinity, Nave of San Lorenzo, Florence, ca. 1425 (15.23)

Philosophy emphasizing the worth of the individual, rational abilities of humankind, & human potential for good. During the Renaissance, part of a movement that encouraged study of the classical cultures of Greece & Rome. Masaccio, The Holy Trinity with the Virgin, St. John, and Two Donors.

Humanist theorist/his text which relates art to humanism, re-imagining artists as intellectuals rather than artisans; emphasis on representational skill rather than materials; on rational art, geometry, linear perspective. Masaccio, The Holy Trinity with the Virgin, St. John, and Two Donors.

Sculpture in which the figure that is carved remains attached to, or part of, the material from which it is carved or cast. Viewable from only one angle (frontally), as opposed to freestanding sculpture. Ghiberti, Sacrifice of Isaac.

Narratives that deal with significant cultural stories (bible, history, mythology, etc.). Per Alberti, the most important subject matter for works of art; art is nothing if the subject matter isn't culturally significant. Masaccio, The Tribute Money.

A mathematical system for representing consistent proportions and spacial relationships of 3D objects on a flat 2D plane, to create an optical illusion similar to that which perceived by the human eye in the real world. Masaccio, The Holy Trinity with the Virgin, St. John, and Two Donors.

In linear perspective, lines which recede and converge at the vanishing point. Masaccio, The Holy Trinity with the Virgin, St. John, and Two Donors.

In linear perspective, the point on a horizon line at which perpendicular lines (orthogonals) meet. Masaccio, The Holy Trinity with the Virgin, St. John, and Two Donors.

Italian word for "light and dark." In painting, a method of modeling formed primarily by the use of light and shade. Masaccio, The Tribute Money.

Creates the illusion of depth by reducing the local color and clarity of objects in the distance, to imply a layer of atmosphere between the viewer and the horizon. Masaccio, The Tribute Money.

Composition developed by the Greeks to represent movement in a figure. The parts of the body are placed asymmetrically in opposition to each other around a central axis, and careful attention is paid to the distribution of weight. Donatello, St. Mark.

Powerful Florentine banking family, shadow power behind Florentine Republican government. Avid humanists & great patrons of art & architecture. Donatello, David (bronze) housed at Palazzo Medici-Riccardi. Uccello, Battle of San Romano taken by force.

Latin word for "eye." A circular opening at the top of a dome used to admit light. A round window. Mantegna, Camera Picta.

Limbourg Brothers, January, from Les Tres Riches Heures du Duc de Berry (The Very rich Hours of Duke de Berry), 1413-1416 (14.3)

Limbourg Brothers, July, from Les Tres Riches Heures du Duc de Berry (The Very rich Hours of Duke de Berry), 1413-1416 (14.4)

Hubert & Jan van Eyck, Ghent Altarpiece, closed view, completed 1432 (14.9)

Hubert & Jan van Eyck, Ghent Altarpiece, open view, completed 1432 (14.10)

Hubert & Jan van Eyck, The "Arnolfini Portrait", 1434 (14.14)

Robert Campin, Merode Triptych, (open), ca. 1425-1430 (14.8)

Hugo van der Goes, Portinari Altarpiece, ca. 1476 (14.20)

Rogier van der Weyden, Descent from the Cross, ca. 1435 (14.15)

Rogier van der Weyden, Saint Luke Painting the Virgin, ca. 1435-1440 (14.16)

Buxheim Saint Christopher, 1423, woodcut (14.29)

Martin Schongauer, The Temptation of St. Anthony, ca. 1480-1490, engraving (14.31)

Private prayer book containing the devotions for the 7 canonical hours of the Roman Catholic church (matins, vespers, etc.), liturgies for local saints, & sometimes a calendar. Often elaborately illuminated for persons of high rank, whose names are attached to certain extant examples. Limbourg Brothers, Les Tres Riches Heures du Duc de Berry.

A category of printmaking in which lines raised from the surface are inked and printed. Buxheim Saint Christopher.

A print made by carving out a design on a wooden block cut along the grain, applying ink to the raised surfaces that remain and printing from those. Buxheim Saint Christopher.

An altarpiece of devotional picture, either carved or painted, with one central panel and two hinged wings. Robert Campin, Merode Triptych.

A series of parallel lines used as shading in prints and drawing. When two set of crossing parallel lines are used, it is call crosshatching. Buxheim Saint Christopher.

Painting technique in which pigments are suspended in oil (in 15th century, usually linseed oil). Can be blended on painting surface to create continuous scale of tones & hues (colors), render most subtle changes in light, achieve very persuasive 3D effects. Since oil is slow drying, images can be reworked almost endlessly. The use of glazing (applying thin films of transparent color) produces objects and figures who project a luminous sense of materiality, as in any of van Eyck's works.

A printing technique in which the design is formed from ink-filled lines cut into a surface. Engraving, etching, & drypoint are examples of intaglio. Martin Schongauer, The Temptation of St. Anthony.

Decoration of hand written documents, scrolls or books, with drawings or paintings. Illuminated manuscripts were often produced during the Middle Ages. Limbourg Brothers, Les Tres Riches Heures du Duc de Berry.

An intaglio printmaking process in which a sharp tool called a burin is used to incise lines into a metal plate. The plate is then inked & wiped, a damp piece of paper is placed atop a plate and then put through a printing press. Because the process allows an artist to use a variety of lines, engravings can produce a variety of visual effects from the illusion of spatial depth to the careful description of textures. Martin Schongauer, The Temptation of St. Anthony.