FINALEXAMSLIDES

ArtHistory202

VirginandChildandangels
(stainedglass) (NotreDamedelaBelleVerriere) DetailofawindowinthechoirofChartresCathedral Chartres,France 1170with13thcenturysidepanels

Purpose:nottoilluminatebuttotransformnaturallightintomysNcalluxnova Virgin=beauNful,young,worldly,haloed;notassevereasinTheotokosmosaic Lightenteredfromoutsidethroughascreenofstonesetcoloredglass;dierent approachthanthereectedlightinByzanNnearchitecture AlmostenNrewallisstainedglass(architecturalfactor)heldinplacebyintricate stonearmatureofironbands Gothicpassionforluminouscoloredlight=daring/successfulsubtracNonof superuousmaterialbulkjustshortofdestabilizingthestructure(engineering genius)

Rosewindowandlancets
(stainedglass) Northtransept,ChartresCathedral Chartres,France 1220

RoyalmoNfsofyellowcastlesonaredgroundandyelloweursdelisonablue groundlltherowerslowerspandrels IconographytforaqueenenthronedVirginandChildappearintheroundel atcenterofrose TwelvepanelscontainimagesofOldTestamentkingsmedievalmoNf (genealogicaltreeofJesse) MoresymbolsofChristsOldTestamentancestorsaccompanythetradiNonal ones,echoingtheroyalgenealogyoftherosebutatalargerscale Roseandlancetschangeinhueandintensitywiththehoursturnsolid architectureintooaNngvisionofcelesNalheavens AlmostenNrewallisstainedglass(architecturalfactor)heldinplacebyintricate stonearmatureofironbands Gothicpassionforluminouscoloredlight=daring/successfulsubtracNonof superuousmaterialbulkjustshortofdestabilizingthestructure(engineering genius)

InteriorofAmiensCathedral
RobertdeLuzarches&Thomasde Cormont&RenauddeCormont Amiens,France 1220

Impressiveheight! DesignreectsthebuilderscondentuseofthecompleteHighGothic structuralvocabulary DesignpermifedthealmostcompletedissoluNonofheavymassesandthick weightbearingwalls Conceptofselfsustainingskeletalarchitecturereachedfullmaturity! Overalleectofeortlessstrength&buoyantlightnessdespitemassivestone architecture

Vaults,clerestory,andtriforium, ofthechoirofAmiensCathedral
RobertdeLuzarches&Thomas& RenauddeCormont Amiens,France 1220

Choirvaultsresembleacanopysuspendedfrombundledmasts Sunlightenteringfromtheclerestorycreatestheeectofbuoyantlightnessnot normallyassociatedwithstonearchitecture COMPAREtoHagiaSophiawithitsoaNngdome;AmiensisGothiccounterpart toByzanNniumsHagiaSophia

Interioroftheupperchapel
SainteChapelle Paris,France 12431248

ExtendedthestyleofwalldissolvingstainedglasswindowstoanenNrebuilding ChapelisamasterpieceofthesocalledRayonnant(radiant)styleoftheHighGothic age PreferredstyleoftheroyalParisiancourtofSaintLouis Stainedglassaccountsformorethan75%oftheRayonnantGothicstructure! SupporNngelementsarehardlymorethanlargemullions,orverNcalstonebars Emphasisontheextremeslendernessofthearchitecturalformsandonlinearityin general Windowslterthelightandlltheinteriorwithanunearthlyrosevioletatmosphere

VirginandChild (VirginofParis)
NotreDame Paris,France Early14thcentury

BestexampleofthecourtstyleinLateGothicsculpture SculptorportrayedMaryinanexaggeratedScurveposturetypicalofLateGothic sculpture Sheisaworldlyqueeninroyalgarmentsandcrown Christchildequallyrichlyalred;infantprince Tender,anecdotalcharacterizaNonofmotherandsonrepresentsafurther humanizaNonoftheportrayalofreligiousguresinGothicsculpture

VirginofJeannedEvreux
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Figuresbasedongeometric shapes
VillarddeHonnecourt Paris,France 12201235

Godasarchitectoftheworld
Paris,France 12201230

WestfaadeofSaintMaclou
Rouen,France 15001514

MasterpieceofLateGothicFlamboyantarchitecture OrnatetraceryfeaturescurvesandcountercurvesthatformbrifledecoraNvewebs maskingthebuildingsstructure Flamboyant:amelikeappearanceofitspointedbartracery) ChurchisNnycomparedtocathedrals Transparencyofthepinnaclesoverthedoorwayspermitsvisitorstoseethecentral rosewindowandtheyingbufresses BewilderingcomplexityofviewsthatisthehallmarkoftheFlamboyantstyle.

TheCastleofLoveandknights jousNng
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DeathoftheVirgin
Tympanumoflepdoorway,south transept,StrasbourgCathedral Strasbourg,France 1230

Senseofguralbalance ElementofrealemoNon,meanttoemitsorrow Madeuseofthesemicircularspace TriangleofMaryMagdaleneatthebofom,pointstoChristwhois takinghersoul Senseofthreedimensionality ChristholdsdolloftheVirgin,hersoul AlotofGermansculpture,likethis,emphasizesandexaggeratesfor emoNonalresponse

VirginwiththeDeadChrist (RofgenPieta)
Rhineland,Germany 13001325

EmoNonalityevokedfromitsarNsNcstyle Tracesofpaint,aswascommononwoodenstatues EmaciatedChristhangsinVirginsarms Virginhasafaceofextremesorrow Meanttoevokegreatcompassionintheviewer aectedpietypresenNngtheviewerwithanexaggeratedemoNon

EkkehardandUta
Statuesinthewestchoir,Naumburg Cathedral Naumburg,Germany 12491255

Benefactorsofthecathedral Developmentofsecularguresinartvs.thetypicalreligiousones! Architecturalcanopieswheretheyarefrom/ruled RepresentaNonofalocalhistoryisnewish Figurescaughtinamoment,UtaclutchingherrobeasifinmoNon Historiatedportrait,despitetheindividualizaNon

Equestrianportrait (BambergRider)
Statueintheeastchoir,Bamberg Cathedral Bamberg,Germany 12351240

SaintFrancisAltarpiece
BonaventuraBerlinghieri SanFrancisco,Pescia,Italy 1235

ShowsimportanceofthenewFranciscanandDominicanorders DocumentsrecenteventsoftheSaintslife Firstknownaltarpiecededicatedtohim IdenNedbythewhiteropewith3knots(3vows) Notexactlyahistoricalportrait;focusisonanintensegureandthat guresstyle,nottheindividualfeatures SaintseenasaSecondChrist(stomatawounds) Themaneragreca ByzanNne:frontal,linear,atness,halo,gold;iconstyle Greekstyle

MadonnaEnthronedwithAngels andProphets
Cimabue SantaTrinita,Florence,Italy 12801290

UnmistakableinuenceofGothicsculpture ChallengedtheconvenNonsthatdominatedlatemedievalartinpursuitofanew naturalism(thecloseobservaNonofthenaturalworld;coreofclassicaltradiNon) RelianceontheByzanNnemodelsforthecomposiNonandthegoldbackground NonByzanNneelements:threedimensionalityoftheMadonnasrobe,thespace thatthethronerecedesinto,overlappingbodiesoftheangels

MadonnaEnthroned
GiofodiBondone ChurchofOgnissanN,Florence,Italy 1310

TradiNonalgoldbackground MarkstheendofmedievalpainNnginItalyandthebeginningofanewnaturalisNc style! MadonnasitswithinherGothicthronelikeanancientmarblegoddess Weighty,queenlymother Aimedtocreateagureofsubstance,dimensionality,andbulk SculpturesqueguresprojecNngintothelightasiftheycouldcastshadows

LamentaNon
GiofodiBondone ArenaChapel,Padua,Italy 1305

Boldlyforeshortenedangels(headonwithbodiesrecedingintothe background) GiofoarrangedalmostastageforthemourningcongregaNon,whichis boundedbythesteepdiagonaloftheincline DramaNcfocalpointatlowerlep(Christnotmerelyinmiddle) Figuresaresculpturesqueandweighty,butconveymoNonandemoNontoo Singleeventprovokesintenseresponse Theguresseenfromthebackrepresentdevelopmentawayfromthe ByzanNnestyle:emphasizeforeground,aidvisualplacementofintermediate guresfartherbackinspace(departurefromtradiNonoffrontality)

ArenaChapel
Padua,Italy 13051306

ThefrescoesinthischapelshowGiofosartatitsnest. GiofoiswidelyregardedastherstRenaissancepainter. Projectedtheillusionofsolidbodiesmovingthroughspaceontoaatsurface (perspecNve) TheblueofthevaultedceilingisalsopaintedinthebackgroundsofthenarraNve panelsbelow;thecolorfuncNonstounifytheenNredecoraNvescheme,andrenders thescenesmorerealisNc DecoraNveborders,butsimplicityofscenes SpaNaldepthandbodymassvialightandshade;steptowardschiaroscuro DramaNcnarraNveswerethemechanismofeducaNngthefaithful GiofosynthesizeddramaNcnarraNve,holylesson,andtruthtohumanexperiencein avisualidiomofhisowninvenNon

VirginandChildEnthronedwith Saints
DucciodiBuoninsegna Maestaaltarpiece,Siena,Italy 13081311

Newaspects Relaxedthestrictfrontalityofthegures Figuresturntoeachotherinquietconvo Individualizedthefacesofthefoursaintskneelingintheforeground Sopenedtheusualhardbodyoutlinesanddraperypaferning CreatedglisteningandshimmeringeectsoftexNles,complementedbythe goldenhalos Gothic Draperyfallsandcurvesloosely ShowsdialoguebetweenItalyandnorthernEurope ByzanNnetradiNon Formalityandsymmetry Figuresandfacialtypesofprincipalangels/saints Couldnotbetooradicalbecauseitwasaholyobjectinchurch LimitedexperimentaNon

BetrayalofJesus
DucciodiBuoninsegna Maestaaltarpiece 13091311

ByzanNneinuence:goldenbackgroundandrockformaNons SteptowardshumanizaNonofreligiousgures:individualacNonsandemoNons Modeledthegureswithmass

AnnunciaNonaltarpiece
SimoneMarNniandLippoMemmi SienaCathedral,Siena,Italy 1333 Temperaandgoldleafonwood

MarNniwasinstrumentalinthecreaNonoftheInternaNonalStyle Elegantshapes Radiantcolor Flowingline Weightlessguresinagolden,spacelessselng AppealedtothearistocraNctasteofopulenteverything ComplexeNquefeoftheEurochivalriccourtsprobablydictatedthepresentaNon DespitetheVirginsmodestyanddidenceandthetremendousimportoftheangels message,thescenesubordinatesdramatocourtritual,andstructuralexperimentaNon tosurfacesplendor TheintricatetraceryoftherichlytooledFrenchGothicinspiredframeandthe elaboratepunchworkhalosenhancethetacNlemagnicence

PeacefulCity
AmbrogioLorenzel Siena,Italy 13381339

IllusionisNcpanoramaofthebustlingcity FrescoservedasanallegoryofgoodgovernmentintheSieneserepublic ReminiscentofthetownscapesofancientRomanmurals ArNstfondlyobservedlifeofhiscity CitysarchitecturegavearNstanopportunitytoapplySienesearNstsrapidlygrowing knowledgeofperspecNve

NaveofSantaMariaNovella
12461470 Florence,Italy

ThebasilicatesNestothegrowinginuenceoftheDominicanandFranciscan mendicantordersin13thcenturyFlorence FlorenNnegovernmentandcontribuNonsfromprivateciNzenssubsidizedthe commissioningofthechurch ThelargecongregaNonstheseordersafractednecessitatedtheexpansivescaleof thechurch Smalloculiandmarblestripingalongtheogivalarchespunctuatethenave Originally,ascreenplacedacrossthenaveseparatedthefriarsfromthelay audience,buttheChurchocialsremovedthisscreeninthemid16thcenturyto encouragegreaterlayparNcipaNonintheMass

January
LimbourgBrothers LesTresRichesHuresduDucdeBerry 14131416

Sumptuouspicturesinthebook CharacterisNcacNviNesofeachmonth Givesunusualprominensetogenresubjects:increasingintegraNonofreligious andsecularart January:NewYearsrecepNonatcourt Dukeismagnanimoushost;rescreenalmosthalolikebehindhishead;captures powerofthedukeandhisrelaNonshiptothepeasants Richnessandextravagance:fooddisplayedontapelandrichtapestryonbackwall

October
LimbourgBrothers LesTresRichesHueresduDucdeBerry 14131416

Sumptuouspicturesinthebook CharacterisNcacNviNesofeachmonth Givesunusualprominensetogenresubjects:increasingintegraNonofreligious andsecularart Notrichnessfocus,butpeasantry Imageryaferedthedukesimageofhimselfasacompassionatemaster (peasantdoesntlookdisgruntled) GrowingarNsNcinterestinnaturalismisevident:carefulwaybrothersdepicted thearchitecturaldetailsoftheLouvre,convincingshadowsofpeopleand objects

CampinsettheAnnunciaNoninaFlemishmerchantshomeinwhichtheeveryday objectsrepresentedhavesymbolicsignicance OilpaintspermifedCampintodepictallthedetailswithlovingdelity AprivatecomissionforhouseholddevoNon IntegraNonofreligiousandsecularconcerns BiblicalscenesthattookplaceinaFlemishhouse ReligionwassuchanintegralpartofFlemishlifethatseparaNngthesacredfromthe secularbecamevirtuallyimpossible ThepresentaNoninreligiousartoffamiliarselngsandobjectsstrengthenedthe directbondthepatronorviewerfeltwithbiblicalgures WellkeptmiddleclassFlemishhouse SymbolsoftheVirginspurityanddivinemission Donorportrait:portraitsoftheindividualswhocommissionedthework donorskneelinthegardenandwitnessthemomentousevent Verypopularinthe15thcentury

ManinaRedTurban
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PaidtributetotheprofessionofpainNnginFlandersbydrawingafenNontothe venerabletradiNonofthepainterscrap AimofrecordingeverydetailofscenewithlovingdelitytoopNcalappearance (richfabrics,oorpafern,landscapeinwindow)likevanEyk ImbuedmuchoftherepresentaNonwithsymbolicsignicance OxidenNesgurerecordingtheVirginsfeaturesasSaintLuke CarvedarmrestoftheVirginsbenchdepictsAdam,Eve,andserpent(Maryis newEveandChristisnewAdamredeeminghumanityfromOriginalSin)

DeposiNon
RogiervanderWeyden Louvain,Belgium 1435 OilonWood

CompressedtheguresandacNonontoashallowstage,imitaNngthelarge sculpturedshrinesexpressingmaximumacNonwithinalimitedspace ResemblesareliefcarvingandnotamerepainNng(crispdrawingandprecise modelingofforms) ComposiNonalunity DesolaNnganguishthatmanyguresshare SimilarposesofChristandVirginMary Lateralrisingandfallingmovements HisdepicNonoftheagonyoflossisamongthemostauthenNcinreligiousart

LEFT Depictspatronasdevout,kneelsbentandinprayer RecallsFlemishart Standingwithsaint Sharpfocus SaintStephendepictedwiththestoneofhismartyrdomandscripturesfor clarityofid EnNreimagerenderedingreatdetail;intricatearchitecturalbackground RIGHT VirginMaryandbabyChrist IntegraNonofsecularandsacred(asinotherNorthernEuropeanart) MistressofKingCharlesVIIismodelforMary(personalnarraNvegoingon)

MiraculousDraughtofFish
FromtheAltarpieceofSaintPeter CathedralofSaintPeter Geneva,Switzerland KondradWitz 1444 Oilonwood

PainNngisoneofrstworksdepicNngaspeciclandscape(LakeGeneva) Noteworthyforapintersskillinrenderingwatereects SaintPetersbodychangescolorbeneathwater(senseofnaturalism) Skyglazeonslowlymovinglakesurface MirroredreecNonsofguresinboat Transparencyofshallowwaterinforegroudn

IntricateGothicforms(elaboratecanopy) Didnotpainttheguresorthebackground WholedesignisinuidmoNon(restlesslinethatrunsthroughgarments); draperiesaredesignelementsthatNethegurestogetherandtothe framework Lookofpsychicstrainheightensthespiritualityofthegures NoindividualelementfuncNonswithouttherest

SaintAnthonyTormentedby Demons
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SaintAnthonyTormentedby Demons
MarNnSchongauer

NORTHERNEUROPE Maindierencebetweennorthernanditalian:crosshatching Crossingoverthelinestocreatethesurface,form,andshadow Northernartcrosshatchingisaboutwhatsonthesurface Dierencebetweenwhatsphysicallybeneath(italian)andsurface(Northern) Italianartwasmoreparallelhatching,focusingontheunderlyingforms

ThestoryofAbrahamandIsaac,withitsthemeofsacrice,paralleledthemessage cityocialshadconveyedtoitsinhabitants Frenchgothicquatrefoilframes SturdyandvigorousinterpretaNonofthetheme EmoNonalagitaNon/dramaNcemoNon Abesuddenlysummonedthedreadfulcouragetokillhisson Lungesforward,robesying ExposingIsaacsthroattotheknife Flyingangel Dartsin GrabsAbesarmtostophim Demonstrateshisabilitytoobservecarefullyandrepresentfaithfullyallelementsin thenarraNve

Featuresgracefullyposedguresthatrecallclassicalstatuary IsaacsalterhasaRomanacanthusfrieze AbrahamintypicallyGothicposewithoufhrusthip Abeseemstocontemplatetheact Isaac,beauNfullyposedandrendered,recallsGregoRomanstatuaryandcouldbe regardedastherstclassicalnudesinceanNquity DeepappreciaNonforhumanform Muscularsystemandskeletalstructureinmovement Classicalreferencesreecttheincreasinginuenceofhumanism SpaNalillusion:rockylandscapeseestoemergefromblankpaneltowardviewer, stronglyforeshortenedangel

RepresentsfourmartyredpatronsaintsofFlorencessculptorsguild RenaissancearNstafempttoliberatestatuaryfromitsarchitecturalselng Standinginniche SpaNalrecesspermifedanewanddramaNcpossibilityforinterrelaNonshipof thegures Semicirclewiththeirdeepniche,relatedtooneanotherbypostures/gestures, arrangementofrobesuniedspaNalcomposiNon Psychologicalunityconnectsthem Guildsviewednewmilitarythreatbasopportunitytoperformcivicdutyrallying fellowFlorenNnes/promoNngtheirownimportanceandposiNon Rolemodels:placedfaithaboveallelseandwerekilled DeeprespectforRomanportraitstatues:emoNonalintensity,beardedheads Interpret/oercommentaryonclassicalmodelsinmannerofhumanistscholars dealingwithclassicaltexts

ClassicalprincipleofcontrappostointroducedtoEarlyRenaissancesculpture Balancingofweight Bodyisnotrigid,butaexiblestructure Draperyfallsnaturallyandmoveswiththebody SNrringlimbs,shipingweight,andmobiledraperysuggestimpendingmovement outofniche!

Warriorstandsdeantly,readytospringfromhisnichetodefendFlorence,sword pointedatspectator Bodyistaut Faceofnervousenergy GothictradiNonofdepicNngwarriorsaintsonchurchfacades(buthascivicrolehere)

TurningpointinRenaissancesculpture EvenlandscapesinbapNsterycompeNNonrelifsaremodeledformsseen againstablankbackground TookapainterlyapproachtorepresentaNon,creaNnganatmosphericeectby usingincisedlines Landscaperecedesintodistantspacewindowontoaninnitevista

FlorenNnepainterworkingintheinternaNonalstyle SuccessfullyblendednaturalisNcdetailswithLateGothicsplendorincolor, costume,andframingornament ElaborategildedGothicframe Gorgeoussurfaceandsumptuouslycostumedkings,etcandexoNcanimals PresentsallpompandceremonyofchivalriceNquefeinascenthatsacncNesthe aristocracyinpresenceoftheMadonnaandChild StrikingnaturalisNcdetails Animalsfromvarietyofanglesandforeshortenedforms(horseinthree quarterrearview) Kneelingmanremovingspursfromstandingmagusinforeground NighlmenaNvitywithcentrallightsource,radiantChrist PredominantlyconservaNve,butnotoblivoustocontemporarytrends,andblend ofnaturalisNcandinvenNveelementswithoutsacricingGothicornament

TributeMoney
Massacio

Comparison:Giofovs.Massaccio Giofo:useslighNngtocreatefoldsinclothing Massacio:buildsuptheformsmorenaturallywiththelighNng Giofomodelsthemasses,butMassaciosismorenaturallooking MassaccioisthegreatinnovatorofpainNng PerspecNve HeimplementsonepointperspecNve Orthogonalsconvergeatthecenter(totherightofChristshead) ArNstsareveryawarehowtousetheseorthogonals FiguresrecallGiofosinsimplegrandeur,butconveygreaterpsychologicaland physicalcredibility Lightcomingfromsourceoutsideofpicture

A&Edrivenbyangelswillandtheirowndespair Hazybackgroundoersnolocalebutsuggestsaspacearoundandbeyondthe gures RepresentaNonalinnovaNons Sharplyslantedlightfromoutsidesourcercreatesdeeprelief(lightsplaced alongsidedarks) CryfromEvevoicesheranguish Simplebutwitheloquentmessage

ExampleofapplicaNonofmathemaNcstopictorialorganizaNon BrunelleschisnewscienceofperspecNve Illusionismisbreathtaking Vanishingpointisatfootofcross,spectatorslookupatTrinityanddownattomb, pullingtwoviewstogether,creaNngillusionofanactualstructurethattransects thewallsverNcalplane Raitonalmeausredcoherencethatisresponsiblefortheunityandharmonyof thefresco Fullymodeledguresbathedinlight PowerfullyconveyedoneoftheentraltenetsofChrisNanfaith:leadfromdespair ofdeathtohopeofresurrecNonandeternallife

Brunelleschisolvedproblemofplacingadomeoverthe140footwidecrossingof FlorenceCathedralbydesigningathindoubleshellthatwasogivalinsecNon Heavylanternanchorsthedomeatthetop

EmployedlinearperspecNvetocreatetheillusionofdistance UsedsculpturalaerialperspecNve,withformsappearinglessdisNnctthedeepertheyare inspace

AnnunciaNon
FraAngelico

LastSupper
AndreadelCastagno

MadonnaandChildwithAngels
FraFilippoLippi 1455

Comparison:GiofoMadonnaEnthroned Samebasicsubject GiofosisalargealtarpieceforpublicdevoNon Lippisisasmalleraltarpieceforpersonaluse MadonnaispaintedinanillusionisNcframethatshe(andthegoldencushion) breakoutofNaturalism MoreawarenessofthearNsNcprocess(asopposedtoitsfocusonreligion/ power)

BafleofSanRomano?
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EnthronedMadonnaandSaints AdoredbyFrederico?
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FlagellaNonofChrist?

ChristDeliveringtheKeysofthe KingdomtoSaintPeter?

BirthoftheVirgin
DomenicoGhirlandaio CappelaMaggiore,SantaMariaNovella Florence,Italy 14851490 Fresco

AnNquestyles(allanNcapulliningthewalls) Greatinterestinclassicalsources GrotesquedecoraNvepaferns(PompeiianfrescowallpainNng) EmphasisonfamilyandnotevenontheVirgin

GiovannaTornabuoni

Primavera
SandroBolcelli 1482

ZephyrgrabsChloris,whosefeetareontheground,andowersbloomoutofher mouth,andChlorisgrabsFlora,whoisassociatedwithowersblooming UlNmatelyarepresentaNonofspringNmeandthingsblooming Thechanging;oftheseason,ofpeople,etc. Venusisatthecenter,lookingout(withFlora) Cupidblindfoldedisabove(blindlove,needsnosight) ParadeofspringNmecomingin(liketheancientquote) 3gracesonthelep:dancing;wouldhavebeenfamiliar

BirthofVenus
SandroBolcelli

Lyricalstyle Graceful,theanNthesisofMichelangelosstyle IntunewiththeclassicalandhumanistlearningattheNme ThemodestVenuspose;sheisrepresentedclassicallylikethesculpture

David
Donatello 14401460 Bronze

RepresentaNonofgreatbiblicalherowhowasJUSTABOYwhenhedefeatedthegiant FlorenNneslikedthestoryparNcularly,theyfeltliketheDavidoftheotherItaliancity statesandpowers Humbleyouth

David
AndreadelVerrocchio

Davidasmoreofahero Lookingup Morecondentpose Bodyandgestureusedtogiveadierentimpressionofsamesubject

HerculesandAntaeus
AntoniodelPollaiuolo

Purelyclassicalsubjectmafer ArNstwasagreatstudentofthehumanbody InterestedincreaNngthemoNonofphysicallyliping

BafleoftheTenNudes
AntoniodelPollaiuolo

MoreofastudythananarraNvestory Echorcheasifwithoutskin

InterioroftheCameraPicta

ForeshortenedChrist