Академический Документы
Профессиональный Документы
Культура Документы
any way you can--if something really stuck out to you about a piece of art or a type of
movement, let us know! (Be as specific as possible--with everyones help, we can all do
great on this midterm!) Ive separated them into sections by the topic of the lecture, so
the first would be lecture one, the second would be lecture two, etc. Just push enter and
add what you have, and hopefully all of us together will be able to compile a pretty nice
study guide for the class. :) Ill add my information in tomorrow. Happy studying and
email me at kairegaj@usc.edu if you need anything!
anyone know if this is graded on a curve?
...WE have to add the artwork image for the final exam for study too...
Dr. Ogata
Me
2
^seriously tho...
14th Century Italy
VOCABULARY
Piazza: a public square or marketplace. Example: Piazza della Signoria (14th century)
Cathedral: A church building in which a Christian bishop has his official seat.
Example:Duomo These were large, gilded bronze doors divided into squares that depict
the life of John the Baptist (San Giovanni). (these are called quatrefoils)
Palazzo Vecchio: Florence, 1299-1310
Maesta: Duccio di Buoninsegna, 1308-11 (made for a Siena Cathedral)
- large and commanding piece, with the center stretching 13 feet across
- The Virgin is depicted in a blue robe, portraying her as being the Queen of Heaven. She is
large, and in the center of the piece, and you can tell by the fact that everyone else in the scene
is facing their bodies toward her that she is the main figure in the composition.
- The scenes found on the back side of the panel depict the life of Christ
In the scenes on the back, specifically the Betrayal of Christ and the Healing of Lazarus in this
case, the hands and bodies are used to show the viewers who to direct their attention to. In
these pieces, there isnt a lot of depth, very two dimensional.
Madonna and Child Enthroned: Giotto di Bondone, 1310
Giotto was a painter of the 14th century, the designer of the tower of the Duomo, and
a student of Cimabue, who also depicted a version of the Virgin and Child.
Giottos Madonna and Child vs. Cimabues Madonna and Child
CIMABUE (1280)
GIOTTO (1310)
*Angels are all looking a different way VS.
Angels are looking up at the Virgin
*Both have drapery, but C. uses gold flecks to highlight VS.
Gs drapery appears to be
much heavier
*The Madonna is very thin and frail looking, and has her head turned to the side (very
similar to older styles of art)
VS.
The Madonna is looking straight into the
eyes of the viewer of the painting, and is much more solid and attention commanding.
Shes saying Look at me, I am the mother of Christ
*In Cimabues painting, the people surrounding the Virgin are all kind of layered on top of
one another, not showing very much depth or space in the painting
VS.
Giottos painting, which has much more depth.
*Cs Madonna is gesturing toward the child, showing the viewer that this is a very important
figure (the use of hands again)
VS.
Gs Madonna is laying her
hand gently on the knee of Christ in a motherly and loving way.
All in all, the comparisons between the paintings are obvious: subject matter, throne,
madonna and child in middle, angels surrounding her. The differences, though, all point
to one thing: Cimabue was presenting this as a strictly religious piece, showing the
Madonna and Child in all of their glory. While Giotto was doing the same, the way he
depicted the scene made it much easier to connect with both the Virgin and her son,
showing the viewers that these were, in fact, real people rather than just divine beings.
On the bottom, in the middle, we can see the donor and Giotto on their knees, offering the
chapel to three divine figures. The fact that this is slightly offset to the right shows that it is an
act of devotion and a way of trying to ensure his eventual acceptance into Heaven.
Annunciation: Simone Martini, 1333
This triptych is a scene of the annunciation of the Virgin. This is when Mary finds out shes going
to be giving birth to the son of God. The angel Gabriel looks as though hes just stepped out of
thin air, and his cloak is flying back in the wind. Mary is turned away from the guest, and it can
be seen in not only her face, but her finger marking the page of the book in her hand, that she
was shocked by the sudden appearance of Gabriel.
There are pots of lilies in the scene, which are often associate with the Virgin and symbolize
purity. Its shallow, not much depth, although very gilded to show luxury and divinity. At the top of
the central arch, there is a fluttery winged creature, showing the heavenly insemination of the
Virgin. The words of Gabriel are actually etched into the painting.
The Allegory of Good and Bad Government: Ambrogio Lorenzetti, 1338-39
This piece was painted on the walls of the Palazzo Pubblico in Siena. This was where important
people made political decisions, and the painting was there to remind the people in the room
what happens when the people and the land are governed well, and also what happens when
they are governed badly.
Focus on the Good Government scenes
The commune is seated and surround by virtues like temperance, fortitude, etc. Peace is
lounging on a pillow, underneath which is her armor. Thrown aside, but there just in case she
may need it.
There is a personification of Justice depicted holding scales. On one side is a person giving
money for something, and on the other someone is being beheaded. This is to show that justice
can be both positive and negative.
The Peaceful City: This depicts a happy city that has been governed well. There is trade going
on, there are maidens dancing, and the people seem generally happy. This is kind of saying
This is what will happen if you make good political decisions.
Outside the gate is a vast landscape of the countryside, which was kind of rare in this time
period. There are rolling hills, farmers and traders working, agriculture flourishing. Again,
showing what could happen if good political decisions are made on behalf of the people of
Siena.
Intarsia: The technique of intarsia inlays sections of wood (at times with contrasting ivory or bone,
or mother-of-pearl) within the solid stone matrix of floors and walls or of table tops and other
furniture Example: Giuliano de Maiano, Studiolo of Federico de Montefeltro
RENAISSANCE (ITALY):
lifelike but idealized weighty figures set within a rationally configured space organized through a
linear perspective system
revival, rebirth
philosophy as moral basis
render illusion of physical reality
Cube Space The space between the columbus/columbus is the same between the
columbus/wall. A very classical style.
Luca Della Robbia
Known as a finder of Pottery glaze that makes sculpture waterproof and more durable
in the outdoor environment
Lorenzo Ghiberti
The Orders:
Roman Doric:
simple cornice
smooth or fluted shaft
Greek Doric: Same as Roman Doric without a base
Tuscan: A classical order similar to Roman Doric but having columns with an unfluted shaft and a
simplified base, capital, and entablature
Ionic: The Ionic was used for smaller buildings and interiors. It's easy to recognize because of the
two scrolls, called volutes, on its capital.
Corinthian: Corinthian is similar to the Ionic order in its base, column, and entablature, but its
capital is far more ornate, carved with two tiers of curly acanthus leaves (MOST ORNATE)
Composite: an order developed in Rome, that combines characteristics of both the Ionic and the
Corinthian (acanthus leaves and volute scrolls on capital)
Columns
Base: Bottom; most columns rest on a round or square base
Shaft:The main part of the column, the shaft, may be smooth, fluted (grooved), or carved with
designs.
Capital: The top of the column may be simple or elaborately decorated.
Entablature: a horizontal, continuous lintel on a classical building supported by columns or a wall,
comprising the architrave, frieze, and cornice.
Pilaster: a rectangular column, especially one projecting from a wall; used for decoration in
architecture
Allantica: that which 'imitates the style of the ancients
Nymphaeum: ancient Greek and Roman sanctuary consecrated to water nymphs. Example: Villa
Barbaro Nymphaeum
Northern Renaissance
Vocabulary
Polyptych: multiple panels. Ghent Altarpiece Jan and Hubert van Eyck
Renaissance Courts
Vocabulary
Stucco: fine plaster used for coating wall surfaces or molding into architectural decorations.
Example: Rosso Fiorentino and Francesco Primaticcio, Stucco and wall
The Duomo: begun in 1296 by Arnolfo di Cambio Campanile, Giotto di Bondone and others,
1334-1350
- Gothic style cathedral of Florence
- Cross shaped floor plan, detached bell tower and baptistery
- The doors of the Baptistry (1330-36) are very famous, designed by Andrea Pisano.
Cultural movement corresponding with the Catholic counter-reformation that
chinoiserie: is a recurring theme in European artistic styles since the seventeenth century,
which reflect Chinese artistic influence
7
ormolu: golden or gilded brass and bronze used for decorative purposes.
Neoclassicism
Vocabulary
Palladianism: In the style of Andrea Palladio. The 16th century Architect was inspired by the
buildings of Ancient Rome.
British designers drew on his work to create a Classical British style.
Grand Tour: extended visit to the major cultural sites of Southern Europe
tourists visited historic sites from the Classical past
visited studios of important Italian artists to view and purchase works
Reynolds, The Discourses, 1769-90: lectures given at the Royal Academy:
conveys ideas through writing, as well as painting
outlines his theory of art - importance of studying the past, elevate the public through art to have
people learn something and be educated, changed by art
art has a social purpose
J.-J. Winckelmann: Johann Joachim Winckelmann
pioneering Hellenist who first articulated the difference between Greek, Greco-Roman
and Roman art, Winckelmann was one of the founders of scientific archaeology and first
applied the categories of style on a large, systematic basis to the history of art.
ex: The prophet and founding hero of modern archaeology"
His depiction of the Pisan War was seen as divine rather than human
Everyone who studied the wall became distinguished in their profession
By 1503 when Pope Alexander VI died and Julius II was named pope, Michelangelo
at 29 y/o was summoned by Pope Julius II to build his tomb which was to be placed
in the Saint Peter in Rome
Council of Trent
Council of Trent and Religious Art
In the 16th Cent, the Roman Catholic Church insisted art should be servant of
Church
Through decisions of the Council, art was made once again handmaiden of Catholic
Church
No humanism
Went from natural world to theory, from human significance to theological import
Closer to Middle Ages rather than Renaissance
No nudity unless heroic and mythological
is it really the material that offends of the interpretation of the material making a
statement or actually doing something to Madonna
therefore if her image is offended, then she herself is offended, and because I respect
her and I am offended as well
outrage over more than just being offended by the image itself BUT outrage over an act
of iconoclasm- or violence to an image - the painting itself seen as an act of
desecretion, disfigurement, and defacement
Heiner used white paint to veil the image- it did not the harm the image but hid it-defense of the sacred image
art it turns out has something to do with wealth and speculative capital
guilty only of candor
images are not words - it is unclear if they actually say anything
verbal message of the speech has to be brought to them by spectator
ambiguous- words that can decode an image
The mere verbal report that the image of Madonna with elephant dung was enough to
convict the image of being offensive- many people who were offended hadnt actually
seen the image
iconophobia syndrome: images make people anxious, we fight, blam, and destroy them
More radical
Need more info on this
The Council on Trent
12
Catholic church says we can have religious art, but the bishop has to
approve that
Images have to be respectful, not sensualspace*****
in association with Trion, the portrait showed queens desire to escape being
French- to bring what is Alien into heart of French realm
the king is the husband and political spouse of the kingdom
King married to the nation- poeple are his children-- queen is the mother of
the future king-- paper queens- queenship exists only on paper
Luois XIV was not a womanizer- had no official mistresses
Marie-Antoinette most influential woman in his life, situation complicated by
the perception that he was a weak ruler
Marie-Antoinette was an archduchess of another kingdom- she presented the
real and imagined threat of allegiance to her mothers house
importation of Foreign woman was necessary
proper running of monarchy
Queen of France can be construed as ploticial alliance between two families
Marie- Antoinette, 1793 by J.L. David
royal person still standing tall and erect (dignity), apparently resigned to her
fate
she has no power
his piece most authentic: because is showed Marie-Antoinette as she should
have been when she was queen- dignified and helpless
King rode in a closed carriage, queen rode in an open one for everyone to
see
**Closing: both images (Davids and Lebruns) show the queen as the most
notorious, dangerous, and powerful public woman in France, and a woman
who acted in public (both in 1783/93) not only raised fears of sexual dedifferentiation but also bore the blame of societys moral decline
16