A line imagined to be behind and perpendicular to the picture plane and which appears to recede toward a single vanishing point.
Transversal lines are always at right angles to the orthogonal lines.
Transversal lines are parallel to the picture plane and to one another.
Transversal lines establish a fixed height or width between two orthogonal lines.
Transversal lines form the nearest and furthest edges of a rectangle as it recedes from view.
His family was involved in money lending, and charging intrest for loans
Money lending was considered a sin.
He was worried about his soul, salavation, ability to get into heaven
Even more concerned for his father. Who was written as being in hell in Dante’s Inferno
is a museum containing many of the original works of art created for the Basilica di Santa Maria del Fiore, the cathedral (Duomo) of Florence.
-flattened relief, make sculpture look like painting
-very low relief in a perspectives space
-a technique invented by Donatello
-create a sense of deepth without using negative space
oil on panel
transfiguration - reveals his true self
jesus scared - crying blood/human and divine
two biblical events
colors = impact on panel painting
poses of agitation
medici paid for/medicine/cure
possesed buy - apostles wanted to get rid of demons
Roman copy of the Greek original.
2ndcentury Roman copy of bronze original of 4th century BC
used by michaelangelo for face of Jesus
· 3 groupings: (1) central panel, (2) gallery of portraits, (4) four corner panels depicting Jewish heroes and heroines
· Neoplatonism inspired the use of patterned in triangles, circles, and squares because these shapes were believed to hold the key to the mystery of the universe
- Florence, Italy
- begun 1520
, ca. 1488, silverpoint on white paper covered with a blue preparation, Royal Library (RL12358r), The Royal Collection, Windsor, England
Never finished the way it was intended to be—idea of what tomb would’ve looked like if it were finished, two large figures representing looking into past and future, various figures of slaves & captives holding up building (conquered by Julius) Moses=massive over-muscled body, modeled after Julius himself, has horns on his head, representing rays of light
nobody works to finish as they go
a type of genius
references to a tortured soul
similar to hellenistic sculptures
referencing laocoon group
from the tomb of Julius II
BARTOLOMEO AMMANNATI, 1565-75, marble (commission first given to Bandinelli in 1550; bronze figures of nymphs and tritons by Ammannati and Giambologna); commissioned by Duke Cosimo I de’Medici
, (originally Palazzo dei Priori or Palazzo della Signoria, attributed to Arnolfo di Cambio, begun 1299, occupied by 1315; Duke Cosimo I de’Medici moved his family here in 1540
GIORGIO VASARI and assistants, ca. 1567-71
ceiling of salone dei cinquecento
Ceiling (1563-65): ceiling raised by 12 braccia (c. 20 feet); iconographical program by Don Vincenzo Borghini;
painted by GIORGIO VASARI, Giovanni Stradano, Jacopo Zucchi, G.B. Naldini, et al.
• Apotheosis of Duke Cosimo I de’Medici, GIORGIO VASARI and assistants, ca. 1567-71
• Cosimo Studies Plans for the Capture of Siena, GIORGIO VASARI and assistants, 1563
East and West walls (1567-71): Battles against Siena and Pisa; VASARI, Stradano, Zucchi, Naldini, et al.
• Victory, MICHELANGELO, 1533-34, marble, Palazzo Vecchio (originally intended for
Pope Julius tomb); placed here in 1565
• Florence Defeating Pisa, GIAMBOLOGNA, model 1565 for wedding of Francesco I with Giovanna d’Austria (marble from 1589 in Bargello)
decorated by AGNOLO BRONZINO, 1540-45
ca. 1540, fresco, Chapel of Eleonora of Toledo
A soft, misty effect in oil painting mainly by the use of glazes to create soft transitions of color and tone.