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Final Exam Slide Identifications Study Guide

by: Audrey Pontin

Final Exam Slide Identifications Study Guide ARH 304

Marketplace > University of North Carolina - Wilmington > Art History > ARH 304 > Final Exam Slide Identifications Study Guide
Audrey Pontin
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About this Document

Study Guide Part 2 for Final
Northern Renaissance Art
Dr. Vibeke Olson
Study Guide
Title, Artist, date, significance
50 ?




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This 11 page Study Guide was uploaded by Audrey Pontin on Monday May 2, 2016. The Study Guide belongs to ARH 304 at University of North Carolina - Wilmington taught by Dr. Vibeke Olson in Spring 2016. Since its upload, it has received 21 views. For similar materials see Northern Renaissance Art in Art History at University of North Carolina - Wilmington.

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Date Created: 05/02/16
The following slide identifications are composed of material taught by Dr. Olson in ARH 304 Northern Renaissance. Northern Renaissance Study Guide Slide Identifications Exam Instructions: identify each by title, artist, approximate date (within 25 years), and be able to write a statement on the significance of the work (not a description, but why and how it is important). Title: Saint Dorothy Date: c. 1410­1425 Technique: Hand­colored woodcut Significance:  Basket = notary symbol of Saint Dorothy  Simple lines used; flat space  No realistic depiction  “Loop” and Gothic International style  Saint Dorothy is on her way to becoming a martyr Title: Ars Moriendi (The Art of Dying) Detail: The Last Agony of the Dying Man Date: c. 1470­1475 Significance:  Depicts the act of how to die well Demons surround his bed symbolizing sin and faults of life Artist: Martin Schongauer Title: Christ Carrying the Cross Date: c. 1475­1480 Significance:  The following slide identifications are composed of material taught by Dr. Olson in ARH 304 Northern Renaissance.  Christ remains central focus of the engraving  Face confronts the viewer = man’s identification with Christ.  Christ's procession to Golgotha  Largest and most visually complex of Schongauer's prints  Known for spectrum of tone: offset light and dark areas Artist: Matthias Grünewald Title: The Isenheim Altarpiece Detail: Stage 1: The Crucifixion Date: 1510­1515 Significance:  Influenced by famous artistic and devotional customs: andachtsbild and mystical tradition  Relates to patients of monastery in Isenheim as they suffered from gangrene and gout  As panels open, Christ’s body: arms in crucifixion and legs in entombment, are  amputated like those who had amputations due to spreading of disease.  Saints Sebastian and Anthony represent impaling and suffering through the acts of their  martyrs Artist: Albrecht Dürer Title: Adam and Eve Date: 1504 Significance:  Figure in nude, contrapposto pose, genitals traditionally covered by leaves and branches  referencing Roman and Greek posture Highlights Durer’s interest in Classical art in Italy  Brings classical approach back to Northern Europe  Forest background = traditional Northern background as much detail is put into forestry  Reference to the FOUR HUMORS: Black bile, yellow bile, phlegm, and blood The following slide identifications are composed of material taught by Dr. Olson in ARH 304 Northern Renaissance. Black bile: melancholy; depression (elk) Yellow bile: colaric; impatient (cat) Phlegm: lazy, gluttonous (cow/ox) Blood: lust; desire (rabbit)  Wisdom/knowledge (parrot) :: reference to tree of knowledge  Devil’s temptation (snake)  Artist: Albrecht Dürer Title: The Large Passion Detail: Christ Carrying the Cross Date: 1509 Significance:  One of many in Large Passion series by Durer.  Most dramatic in series  Christ crushed by the weight of the cross.  Work of active piety and slight form of andachtsbild through the expression a pain in Christ’s face. Artist: Albrecht Dürer Title: Self Portrait (Age 28) Date: 1500 Significance:  Highlights confidence of young Durer as he makes eye contact with the viewer Straight on, full­frontal  Clothing shows higher status and success with profession as he wears elaborate fur­lined, clothing Stated: “The more we know, the more we resemble Christ, who truly knowns all things”  Presents himself as Christ: similar hand gesture, long beard  Inscription: “Depicted self with colors at age 28.” The following slide identifications are composed of material taught by Dr. Olson in ARH 304 Northern Renaissance. Artist: Albrecht Dürer Title: The Four Apostles Date: 1523­1526 Significance:  Donated, not commission, to native town of Nuremburg.  They represent Durer’s his personal religious credo and head as a warning through the inscriptions  Last known oil painting of Durer  Title controversial as Mark is not apostle as he is an evangelist; thought to be called The Four Wise Men Artist: Lucas Cranach the Elder Title: The Judgment of Paris Date: c. 1528 Significance: 3 nude goddesses: Athena, Aphrodite, and Hera; depicted wearing see­through drapery Relevant to Germany by landscaping and contemporary accessories (jewelry and hats) Non­biblical nude females :: Challenging owner’s knowledge of Greek mythology Artist: Hans Holbein the Younger Title: Allegory of the Old and New Law Date: c. 1530­1535 Significance:  Influenced by Cranach’s painting  Theme encouraged by Reformation  References Old testament (Adam & Eve; Profit Isaiah; Lamb of God) and New testament (Annunciation; Crucifixion) The following slide identifications are composed of material taught by Dr. Olson in ARH 304 Northern Renaissance. Artist: Hans Holbein the Younger Title: The Ambassadors Date: 1533 Significance:  Double portrait of Jean de Dinteville and Georges de Selve o Both dressed in regal, secular garment  Skull :: momento mori  Globe, mathematical and musical instruments, anatomical symbols, sheet music and  broken string on lute = political and religious disharmony  Reference to Christ through tucked away crucifix behind curtain  Fully embodies Northern style  Brings Holbein to the attention of Henry VIII Artist: Hans Holbein the Younger Title: Henry VIII Date: c. 1540 Significance: One of many copies of the Portrait of King Henry VIII Highlights Holbein’s talent as soul court painter for the king Bears inscription: "ANNO ETATIS SUAE XLIX" (His year of age, 49) The following slide identifications are composed of material taught by Dr. Olson in ARH 304 Northern Renaissance. Artist: Albrecht Altdorfer Title: Danube Landscape Date: c. 1528 Significance:  Depiction of ‘pure’ landscape as painted by main representative of Danube school  German influence through traditional forestry  No human figure depicted emphasizing purity of natural setting  Shows winding road leading to Worth Castle  Dual repoussoir device that directs the viewer's eye to the center of the composition Artist: Hans Baldung Grien Title: The Witches Sabbath Date: 1510 Significance:  Highlighted interest in witchcraft in German speaking­countries as witchcraft became a popular topic.  Explored the darker sides of human nature Artist: Hieronymus Bosch Title: Table of the Seven Deadly Sins Date: c. 1480­1485 The following slide identifications are composed of material taught by Dr. Olson in ARH 304 Northern Renaissance. Significance:  Large center table represents the eye of God  "pupil" shows Christ can be seen emerging from his tomb  Four outer circles represent: "Death of the Sinner", "Judgment", "Hell" and "Glory"  Allegorical representations of the seven deadly sins surround the edges of the center table. Artist: Hieronymus Bosch Title: The Garden of Earthly Delights Detail: Open Date: c. 1510­1515 Significance:  Serves as a didactic warning on the perils of life's temptations  Left panel: Garden of Eden with Adam and Eve (or possibly Lilith or regular woman)  Right Panel: Damnation in Hell  Center: sin and daily follies of life is a surreal nature  Bosch’s creativity is shown through creation of imaginative animals and creatures.  Large strawberries symbol of sin Artist: Lucas van Leyden Title: Calvary Date: c. 1517 Significance: Influenced by Schongaurer’s Road to Calvary Less focus on religious scene of crucifixion and more on the surrounding, traveling crowds and landscape No ‘grand religious drama’ The following slide identifications are composed of material taught by Dr. Olson in ARH 304 Northern Renaissance. Crucifixion scene in upper left corner of engraving Artist: Lucas van Leyden Title: The Fall of Man Date: c. 1530 Significance:  Compared to Durer’s Adam and Eve  Showed the possibility of van Leyden excelling Durer’s skills as an artist Stated in Schilder­Boeck by Karel van Mander Artist: Quentin Metsys (Massys) Title: The Moneylender and his Wife Date: 1514 Significance:  Original inscription of frame: “Let the balance be just and the weights equal.”  Influenced by Christus’ A Goldsmith in His Shop as a money charger sits with his wife who overlooks her Book of Hours to look at money. o Even references the use of reflection in a mirror.  Inscription served as reminder to money charger and his wife. Artist: Joachim Patinir The following slide identifications are composed of material taught by Dr. Olson in ARH 304 Northern Renaissance. Title: Rest on the Flight into Egypt Date: c. 1520 Significance:  Landscape dominates figures Rare as Virgin and Child are ones to usually dominate the paintings they are in.  No perspectival viewpoint  Virgin and child separated from composition  Patinir usually painted landscape to have figures in his paintings painted by another  artists The figures in this painting were painted by Joos van Cleve Artist: Jan Gossaert Title: Neptune and Amphitrite Date: c. 1516 Significance:  Highlights male anatomy influence on female body.  Both figures appear with great musculature, oddly enough in their hair  a celebration of sensual pleasures and classical eroticism for commissioner Philip of Burgundy Artist: Maarten van Heemskerck Title: Saint Luke Painting the Virgin and Child Date: c.1532 Significance:  Allusion to artist in person who guides the hand of Saint Luke; representing ‘divine intervention’  Angel that usually guides hand holds light upon Virgin and Child to illuminate figures The following slide identifications are composed of material taught by Dr. Olson in ARH 304 Northern Renaissance.  St Luke: patron saint of artists' professional associations (Guild of Saint Luke)  The setting is barren, with a blank wall behind the evenly placed figures referencing  deeply cut frieze like on the seat Saint Luke sits on. Artist: Pieter Bruegel the Elder Title: Landscape with the Fall of Icarus Date: c. 1558 Significance:   Title does not capture essence of paintings theme. Although Icarus is drowning in the lower corner of the painting, others proceed with their lives to focus or farming, fishing, and agriculture.  Theme: “Life Goes On.” Artist: Pieter Bruegel the Elder Title: Netherlandish Proverbs Date: 1559 Significance:   Metaphorically and comically addresses commonly known proverbs  Not only Netherlandish Proverbs, proverbs derive from other areas and origins: i.e. Greek and Latin  Revolves around the daily lives of peasants  Outlines the absurdity of much human behavior (the world turned upside­down)  Illustrates the dangers of folly and sin (woman cuckolds husband by covering him with  blue cloak)  Influenced by Frans Hogenberg’s The Blue Cloak  Depicts 80 known proverbs Artist: Jean Clouet Title: Francis I The following slide identifications are composed of material taught by Dr. Olson in ARH 304 Northern Renaissance. Date: c. 1535 Significance:  Hand rests on sword like Henry VIII  No reference to the fleur de lis or royalty, except for crowns is seen in wallpaper in background  Patron of the arts responsible for art movement in France; bringing in Italian artists to create art in France (Leonardo da Vinci) Artist: Rosso Fiorentino and Francesco Primaticcio Title: Gallery of Francis I Date: c. 1530­1560 Significance:  Hallway in Chateaux de Fontainebleau  Stucco sculptures and paintings: multimedia  Influenced by Hall of Mirrors in Palace of Versailles Artist: Unknown artist of the School of Fontainebleau Title: Lady at her Toilet Date: c. 1590 Significance:  Possibility portraying Diane of Poitiers: Mistress of Henry II  Woman looks at reflection of mirror  Bathing is commonly an act of privacy, yet maid works busily in background preparing bath  Work of Fontainebleau  Possibly influence by Titian’s Venus of Urbino


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