- Syracuse University
- History Of Art & Architecture
- History Of Art & Architecture 201
Last Modified: 2014-07-09
Contemptuous of the Church
Supported the emperor
- "Duomo" Florence Cathedral 1st half 15th cent
- Artist: Brunelleschi
- Built to be tall- inner shell like an egg
- Combo of Gothic and Romanesque
- popular in North and Central Italy
- imported by Constantine/Byzantine Empire
- "Greek Style"
- heavy use of gold, punchwork, hieratic scale, striated/linear forms, abstracted, elongated, flattened figures
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.
- specialized in poetry
- poet and author of divine comedy
- known as the father of italiano
- known as one of the three crowns of the italian middle ages
- Wrote Dante's Inferno
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
- Festivals held in towns involving horse races around the piazza.
- Some are still held.
- an aspect of the vibrant culture and rivalry of the commons.
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.
- complex and organic
- capital decorated with acanthus leaves
- base and fluted column shaft
- A constructive device permitting the placing of a circular dome over a square room or an elliptical dome over a rectangular room, a triangular section of vaulting between the rim of a dome and each adjacent pair of the arches that support it.
- a curved triangle of vaulting formed by the intersection of a dome with its supporting arches.
- arch above the door.
- Refers to Grooves or channels
- Are roughly semi-circular in cross-section
- Repeated vertically in columns, pedestals and pilasters
- Also used in frames and other moldings.
-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
- •The church's presence may allude to Jerome's position in Western Christianity as one of the Doctors of the Church
- painting is innovative for the oblique trapezoid form of the figure of the saint
- doctrine of transubstantiation where jesus body and blood were represented by wine
- catholics loved this idea while protestants rejected it
- plebian/scruffy figures invite viewers to interact
- laying christ on altar/stone slab shows theology
Roman copy of the Greek original.
2ndcentury Roman copy of bronze original of 4th century BC
used by michaelangelo for face of Jesus
- 20 BC to 20 AD
- Emphasis on dramatic action and expression
- Eyes cut deeply, mouth open, face twisted, hair disheveled
- Return to "hellenistic baroque"
late 1st century bc
found in 1400's
- vatican, 1510-14
- rooms; may refer to the papal suites decorated by Raphael
- ex: "stanza della signatura"
Style: High Renaissance
Function/Purpose: represent knowledge about Christ
Content: Eucharist in center (presented to believers)
-Trinity: God, Christ, and Dove (Holy Spirit)
-most complete exposition of doctrine of Eucharist
-begins in Heaven
-Apostles/saints from old and new testaments
-Four Fathers of Church
-theologians arguing about Eucharist
· 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
- We are God and God is us
- gian lorenzo bernini
- 1624 - 1633; Baldacchino, St. Peter's Basilica, Rome, Italy
- Built under the dome that Michelangelo built
- Locates the burial of St. Peter
- 100ft tall made of bronze and covered with golden detail- bronze was take from the Pantheon
- Helical columns: equating the authority of Pope Urban to the temple of Solomon and King David
- On top of arches are 2 baby angels, one holding the Papel crown and 1 holding keys to Heaven (symbolizes Pope's authority, 3 bees symbolize his family crest and royalty)
Medium: marble, bronze, gilt wood
Function/Purpose: behind canopy; chair of Peter
-Roman Catholicism universality
-enclosure of St. Peter's piazza
Content: Four Fathers = Ambrose, Gregory, Jerome, Augustus
- Light comes in from two sources on right, creating a tenebroso effect on figures
- Diagonal shaft of light points directly to Saint Matthew, who points to himself as if unsure that Christ would select a tax collector, depicting a moment in time
- Christ's hand gesture similar to Adam's on the Sistine Chapel ceiling
- Foppishly dressed figures are in the latest Baroque fashion
- Narrow stage for figures to sit and stand on
- Only slight suggestion of halo on Christ's head indicates sanctity of the scene
- Sensual figures, everyday characteristics
- Naturalist approach to the Baroque
- 1507; Rome, Italy
- oil on panel
- villa borghese
-Shows Da Vinci's influence on Raphael
-3/4 pose and looking directly at viewer
-flanked by columns on balcony functions to separate woman from background, like Mona Lisa
-Hands cover each other, sign of modesty
-However bright colors and unione and attention to detail, jewelry unlike da Vinci,
oil on canvas
Function: one of many commissions to decorate the villa of Bernini's patron Cardinal Scipione Borghese.The subject of the work is the biblical David, about to throw the stone that will bring downGoliath, which will allow David to behead him.
- Florence, Italy
- begun 1520
- leonardo davinci
- oil and tempera on panel
- national gallery of art, washington dc
- 1474: in front of a hedge of juniper, a symbol of chastity
- a beauty and a poet
- married, and commissioned this painting
- flemish inspiration: 3/4 turn, oil painting, landscape
- "seem to exist only through light falling on three dimensional objects" - chiaroscuro
- Leonardo da vinci, 1472, Uffizi Gallery
- Softness and glow, alignment of the figs across the front plane
- can see the body under the clothes and drapery, balance of composition
- figs = sweet and handsome, ambivalent gender of angels
- Typical angel type for Leonardo: straight bridge type, contrast of light and dark
- white lillies = purity, Mary's reaction is surprise not anger, calm and curious, can see every hair, detailed
- Leonardo davinci, 1490, oil on panel, czartoryski museum, cracow, poland.
- Social status
- luminous clothing
- Very captivating of personality
- small smile
, ca. 1488, silverpoint on white paper covered with a blue preparation, Royal Library (RL12358r), The Royal Collection, Windsor, England
- Michelangelo, 1503, tempera panel, angelo donis home
- earliest paintings, rock form in backgrnd (Strazzi code of arms)
- stand. Christian symbs = virtue of marriage for the Doni Family, holy family + St. John, nudes in backgrnd
- flower coming out of stone references virgin birth, sea scape in background shipwreck = Mary
- Looks like sculpture because of all details in drapery and nudes in backgrnd = David plays w/ light and dark, harsh lighting coming off blue drapery of Mary
1543, Italy, oil on panel
Patron = Cosimo I de’ Medici
- Florence, Uffizi
- tempera on panel
- Oil on Canvas
- Venice, uffizi
- High Renaissance
- Accademia, florence
- 17' The Giant
- commissioned by city fathers of Florence
- considered mirical of the time
- symbol of the city
- instead of florence cathedral place in front of city hall
- caputred narrative right before it explodes,
- coiled spring, action in repose
- torqued head, furrowed brows
- intense emotion
- slingshot in hand, monumetnal
- High Reniassance
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
- Part of slave series for Julius II's tomb
- Michelangelo follows the shape of the marble aka uses the marble to his advantage
- Michelangelo intentionally leaves some parts unfishineshed
- Makes it look like the bodies are physically coming out of the stone
- 1513-14, oil on panel
- Florence, Italy
- High Renaissance
- Early 16th
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
- Elected pope in 1513 after Julius II died.
- His accession to the papacy strengthened Medici power in Florence.
- He commissioned Michelangelo for 3 major projects: 1) Facade of S. Lorenzo, 2) the Laurentian Library, 3) the Medici Chapel.
- illegitimate son
- cousin of Pope Leo X
- elected Pope in 1523
- in Florence to carry out projects
- patron of the Laurentian Library, reliquary in San Lorenzo
-assassinated as opening stroke of the Pazzi Conspiracy
- spiritual aspect of the teachings of Plato
- good is absolute
- unite with god
- mind, body & soul
- listen to the soul
was claimed to appeal to the rational mind as opposed to colore which appealed to emotions and senses
A soft, misty effect in oil painting mainly by the use of glazes to create soft transitions of color and tone.
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