Art History Test 1 Review

Giotto, Lamentation, 1305

Arena Chapel, interested in 3D by using
shading and foreshortening, freedom to
experiment with new techniques because he
only had to please Scrovegni, showing the
backs and inviting the reader into the scene,
religious history painting with frenzied angels
contrasted to sorrowful people, still had
halos, blue background controversial because
all previous paintings had gold, off center POI,
Giotto was the first Renaissance artist,
painted in fresco and very naturalistic.
What is new here is the way Giotto draws us
into the experience of these events. This
direct emotional appeal not only allows
viewers to imagine scenes in relation to their
own lives, it also embodies the new Francican
emphasis on personal devotion rooted in
emphatic responses to sacred stories.

Giotto concentrates on the human
dimensions of the unfolding drama
from touches of anecdotal
humor to expressions of profound
anguish rather than on its
symbolic or theological weight.
Early Renaissance, Italy, fresco
Van Eyck, Arnolfini Double Portrait,
1434
Because of oil, you can paint in great detail. Looks
like legal situation due to mans raised arm, in the
back, there is signature Jan Van Eyck was here
and is testifying to saying he witnessed it, you can
see more than these two people->Eyck and
another in the mirror. The woman is on the side
of the bed, hinting to marriage, man on side of
window, allowing the fact that he is associated in
the public realm. Woman holding dress like
pregnant. Dog symbolizes loyalty and fidelity, and
the dog is an expensive breed to signal wealth,
man in head-to-toe fur. Symbols of wealth: rosary
beads, mirror is like passion of the Christ. Firmly
rooted in the terrestrial world.
Early Renaissance, Northern
Europe, Oil
Campin, Merode Altarpiece, 1425-
1428
Triptych, patrons on the side to please
commissioners, set in a Flemish home,
objects hold religious symbolism; Lilies ->
Marys virginity, water pot -> Mary as a
vessel for the incarnation of God, towel ->
tallis. Scene depicts Mary accepting her role
and the miracle, position symbol of her
submission to God. Left side is of the donors
whose focus is inward and intent on the
spiritual setting. Right side is of Joseph
working in a carpentry shop and Flemish city
in background, Christ as the bait in a trap set
by God to catch Satan

The complex and consistent treatment of
light represent a major preoccupation of
Flemish Painters and recalls the virginal
conception of Jesus conception.
Flemish paintings provided a window
onto a scene rendered with keen
attention to describing individual
features people, objects, or aspects
of the natural world
Early Renaissance, Northern Europe,
Oil
Masaccio, Holy Trinity, 1424-1427
The spirit is between God and Jesus. At the bottom,
death is inevitable -> before we die, it says look up for
the answers, look forward to salvation after death.
Composed of a triangle layout. Masaccio established a
new direction for Florentine painting by integrating
monumental and consistently scaled figures into
rational architecture and natural settings using linear
perspective. Unusual combination of classical orders.
Donors are still depicted on the sides.
Renaissance, Italy,
fresco
Leonardo da Vinci, The Last Supper,
1495
Oil and tempera, not the typical fresco.
His experimental technique weak to
preserve as it began to crumble even in
his lifetime. Groups of three people
create balance. Halo effect around Jesus.
One point Linear Perspective and
mathematical rationality. Natural setting.
Placement of Judas with Christ.
Chiaroscuro and effect done with a
sfumato technique. Da Vincis art
captures human emotions with
compelling immediacy. Symbolic
evocation of of Jesus coming sacrifice
for the salvation of humankind. Breaking
from traditional scenes, Da Vinci places
Judas within the first triad to the left of
Jesus.
High Renaissance, Italy, mix of oil
and tempera
The clarity and stability of this painting
epitomize High Renaissance style.
Michelangelo, David, 1501
Size is triple life-size. Obsessed with classical tradition
(Greco-Roman). Outward gaze shows space to the
viewer and incorporates them, depicts the beginning
of the story. The face reflects the psychology of David
-> worried, yet determined. Rings under his eyes
suggest he hasnt slept, rock in hand, David isnt sure
of the outcome. Pope loves sculpture of David so calls
him to Rome and commissions him to do the Sistine
ceiling.

<- Famous and innovative because of he moment in
the scene that it depicted and the expression and
concentrated gaze.

Also stood as a reminder of Florences republican
status. Supremacy of right over might -> An emblem
for the Florentines, who had recently fought the
forces of Milan, Siena and Pisa, and still faced
political and military pressure.
High Renaissance, Italy,
sculpture
Michelangelo, Sistine Ceiling, 1508-
1512
Originally didnt want to do the painting. Scenes
from the Old Testament (Genesis) starts the scenes
from the entrance. The Creation of Adam no
orthagonals, composition works together, lots of
tension between the bodies of God and Adam,
Adam is made in Gods image, their fingers dont
meet and off-center whereas traditional
Renaissance paintings focus on the center.
Michelangelo is thinking like a sculptor. The woman
next to God is either Mary or Eve, no background.
Seated on the cornice are ignudi -> figures of nude
young men.

There is a shift in the style of Michelangelo, early is
more detailed while the later is much more loose
and not as concerned with precision.
High Renaissance, Italy,
fresco
Michelangelo, Last Judgment, 1536-
1541
Massive swirl of bodies, yet still is orderly and
confusing at the same time. Lots of strain and
masculinity. Michelangelo depicts himself in
the skin of St. Bartholomew. More
frightening version of hell because of the
split in the Catholic Church. Martin Luthers
challenge of authority Protestantism (a
return to text) Catholics launch the Counter
Reformation. The painting was long
interpreted as a grim and constant reminder
to celebrants of Mass. Conservative clergy
criticized the painting for its frank nudity.


High Renaissance, start of
counter reformation, Italy, fresco
Bernini, David, 1623
Bernini sees himself as the heir to Greco-Roman
tradition but better than Michelangelo. Depicts the
process in actual battle with Goliath. Clenched lip (in
effort) and determined brow (more strain), David is a
man -> armpit hair. Able to balance the body.
Donatellos David was first male nude figure in
hundreds of years, Michelangelos blows it up, and now
Berninis figure is more conservative covered up ->
counter reformation. The twisting of the body creates a
feel of an unseen presence/adversary somewhere
behind the viewer -> viewer becomes part of the action
as opposed to being displaced.
Counter reformation, Italy,
sculpture
Bernini, The Ecstasy of St. Theresa,
1645
Uses marble (multiple colors) and gold and hidden
windows above to naturalistically illuminate St.
Theresa and the golden rocks. Theatrical charm and
has members in an opera watching this scene.
Manipulates marble to contrast the real and divine.
The cloth is comparable to that of St. Longinus, then
he makes the skin of the figures polished, especially
the angel to make it seem more divine. Makes the
face serene so as to not make St. Theresa look like an
orgasmic slut. Part of the Counter Reformation,
dazzling. Idealized. Interested in engaging the viewer
in a critical, dramatic moment at its emotional and
sexual height. Bernini: considered himself a classicist
but brought us into the new baroque era of art, loved
displaying his sculptures with theatrical and dramatic
presentations, master of the rocks weight.
Transporting herself (the angel) to a state of
indescribable pain, religious ecstasy, and a sense of
oneness with God.
Counter reformation,
Italy, sculpture
Caravaggio, Calling of St. Mathew,
1599-1600
Jesus in a bar to represent everyday life,
and the contemporary clothing, extreme
tenebrism (light and dark) to heighten
drama, pose of Jesus hand mimics Creation
of Man to show how Adam represents
original sin. Confusion as to who Jesus is
pointing towards. Significant because it
represents everyday life. Caravaggio
established himself and was hired for
religious scenes. Rather than frescoes on
walls, he would use oil and canvas and
hang them in churches. Marked by mystery
rather than clarity sought by the Counter-
Reformation. Painting was considered to be
crude, inappropriate and uncouth. Mathew
was for revealing. Painting was inconsistent
with guidelines for saintly decorum set by
the Council of Trent. Subject is conversion,
a common counter reformation theme.
Satisfied baroque demand for drama
and clarity by developing realism in
powerful new directions. Worked
with models and still life specifically.
Counter reformation,
Italy, oil
Caravaggio, Crucifixion of St. Peter,
1600
Didnt want to die the same way as Christ so
wanted to be crucified upside down. A lot of
the foreground is covered by the huge ass and
the backside, but giving a source of mobility,
we also have strain on these bodies. Moment
of high tension Peter is about to be crucified.
High tenebrism and no sense of a background,
which was different
Counter reformation, Italy, oil
Rubens, Raising of the Cross, 1610
Oil on wood, huge triptych painting, very
dramatic with Christ in the middle on a
strong diagonal, every muscle in flexed,
tensed. Uses two side panels to put focus
on the central one, tenebrism, reminds of
Michelangelo. During the Counter
reformation, Flemish. Large canvas for the
main altar of the church of St. Walpurga.
Herculean figures strain to haul upright the
wooden cross. The drama and intense
emotion of Caravaggio is merged here with
the virtuoso technique of Annibale
Carracci, but transformed and
reinterpreted according to Rubenss own
unique ideal of thematic and formal unity.
Rubenss expressive visual language was
deemed as appropriate for representing
secular rulers as it was for dramatic
religious subjects.
Counter reformation, Belgium, oil
Artemisia Gentileschi, Self-Portrait as
the Allegory of Painting, 1630
Richly dressed woman painting. Womans gold
necklace and mask pendant symbolize the
continuity and interlocking nature of painting, each
man learning from their master and the legacy
built. The mask imitates the human face just as
painting imitates nature. Thus, as self portrait,
Artemisia commemorates painting and claims her
own place in it. Aspects of the image are derived
from Cesare Ripas sourcebook Iconologia (1593).
Counter reformation, Italy,
oil
Velazquez, Las Meninas, 1656
Group portrait, Princess Margarita with King Philip
and Velazquez to the left. Prado Museum in Spain.
Can identify every person in the painting, very exact
rendering, looks very casual, incredibly accurate in
terms of perspective, creates an interesting dynamic
of space, background is a mirror of King Philip and
Queen. Makes people believe that Philip is in front
or is a portrayal of what Velazquez is painting,
Wonder about what he is painting -> King, or the
picture we see itself? Making an argument for his
own status by including himself, has a cross on his
own self -> the order of santiago (essentially a racist,
yet elitist group), wanted to attain and be accepted
into the Order. Velazquez has the keys to the palace.
Rather than using the light to model volumes in the
time-honored manner, Velazquez tried to depict the
optical properties of light reflecting from surfaces.
Fundamentally, Las Meninas is a personal statement.
Counter reformation, Spain,
oil
Vermeer, View of Delft, 1662
Describing the city of Delft whereas
Michelangelo (southern paintings) is
showing a story and narrative that human is
the center of the World. Flanders painting,
painting for the middle class market and
used the camera obscura as a visual tool for
the visual analysis of the composition. More
focused on describing life as it is as opposed
to narrating it.
Dutch, oil
Vermeer, Woman Holding a Balance,
1664
People are not suppose to indulge in material
objects. Barest articulation of light. Genre painting
but the background is of the Last Judgment.
Woman is the judger of society -> allegory of
justice: balance, blind, woman usually considered
allegories because they are considered blank
slates or abstract representations. Dutch because
of fur coat, material objects, optical, smooth
chiaroscuro (soft shading). Genre painting. Yet the
juxtaposition of her balance and the Last Judgment
seem to turn this genre scene into a metaphor for
eternal judgment, a sobering religious reference
that may reflect the artists own position as a
Catholic living in a Protestant country. Evokes a
vanitas theme of the transience of earthly life,
allowing the painter to comment on the ephemeral
quality of material things.
Dutch, oil
Rembrandt, The Night Watch, 1642
Really large painting -> important. Elevated
the idea of group portraiture (typically
boring) to the status of historical paintings.
Men turning into fraturnities on a parade,
but are not actually fighting anyone,
Visually balanced between the captain and
second in command, background is all of
specific people, each readying their
weapons, ready to fight. Feather is merged
with the fire of a gun, Two small children to
the left -> allegorical? Dynamic diagonals
except for the front two, making them
seem more than what they actually are.
The young girl carrying the chicken may be
a pun on the kind of guns that gave the
name to the company. Complex
interactions and vivid individualized
likeness. Tenebrism. Study of Renaissance
art.
During the reformation which stopped
religious/narrative paintings in the
North
Reformation, Netherlands, oil
Hyacinth Rigaud, Louis XIV, 1701
Louis is 63 years old, all about the Kings power and
the position of the King, divine right to the throne,
stance, shows the sword and scepter but not using
them because he doesnt have to, wearing heals to
literally elevate himself, and showing off his legs
like a faggot. Trimmed with the gold fleur-de-lis and
lines with white ermine. Despite his pompous pose
and magnificent surroundings, the directness of the
gaze and the frankness of his aging face make him
seem surprisingly human. The arts came under
royal control: 1648 -> Royal academy of painting
and sculpture was founded which maintained strict
control over the arts -> control art as propaganda.
Pre-French Revolution,
France, oil
Fragonard, The Swing, 1776
Not a portrait, all about flirtation, no moral tale of a
genre scene, man in front reaping all of the benefits
from the guy pushing the lady, Angel is keeping the
secret. Sexual dynamics, no condemnation, an
orgasmic appeal to the Rococo period of time ->
symbolized the way that the nobility lived their lives
after leaving Versailles (Louis XIV forced them to live
there). Bishop in the background unknowingly pushes
woman who is flirtatiously interacting with suitor in
front of her..he however tries to act innocent by
seemingly covering up the view of her legs, despite
him actually liking it. Image bursts with anticipation
and desire, but also maintains a sense of humor.
Rococo period, Europe, oil
David, Oath of Horatii, 1785
Three of the best fighters from the Horatii vs
the three best from the Curatii, the three from
the Horatii are brothers swearing an oath to
father. Neo-classicism interest in the Greco-
Roman past. Masculine side (left) vs Feminine
side (right). Feminine side is complicated (like
most women) and represents conflicting
emotions (brother and husband in a different
clan etc), while the men worried about honor.
Historical painting, hung in the center of the
Salon -> becomes a symbol of the revolution ->
fighting to the end even through complications.
Ironic because Louis XVI likes the painting. The
emotional intensity of this history painting
pushed French academy rules on decorum to
the limit.
French Revolution, France, oil
Neoclassical paintings extolling the
antique images of stoicism,
masculinity, and patriotism.
David, Death of Marat, 1793
Marat was a Jackobin leader/journalist of the
revolution. Painted for Marats funeral, wanted
Marat to be known as a martyr, 1/3 of the painting
is just darkness with nothing happening, we dont
see the murderer, trying to drain the emotion and
drama despite this being a very dramatic scene.
Alludes to final crime, painted the real dead body, a
calm martyrdom. Compares Marat to
Michelangelos Christ and Caravaggios Christ to
compare to other martyrs. Bottom right -> 1793
with year 2 written symbolizing a new France.
David avoids the potential for sensationalism in the
subject by portraying the tragic aftermath. Tightly
composed, powerfully stark. Transformed an ugly,
brutal scene into that of a somber eloquence.
French Revolution, France, oil
Gros, Pest House at Jaffa, 1804
Gros is a student of David, documenting war,
Napoleon visits to boost moral of soldiers
stricken with the plague, his finger is in a
wound, similar to Christ healing the sick, and
contrasted to the guy in background with rag
covering face. Gros resembles the style of
David -> architecture, except this is middle
eastern Moorish architecture but keeps the
same format that David used. Shows
Napoleons kindness despite him being a dick
and having everyone here poisoned
afterwards. Overall effect is romantic, not
simply because of the dramatic lighting and
wealth of detail, but also because the main
action is meant to incite veneration of
Napoleon the man more than Republican
virtue. The huddled figures to the left remind
of Michelangelos Last Judgment.
Neoclassicism, post French
Revolution, France (painted in
Jaffa, Israel), oil