Who are the 3 nude goddesses?
Who are the 3 nude goddesses?
Description
School: University of North Carolina - Wilmington
Department: Art History
Course: Northern Renaissance Art
Professor: Vibeke olson
Term: Spring 2016
Tags: Title, Artist, date, and significance
Cost: 50
Name: Final Exam Slide Identifications Study Guide
Description: Study Guide Part 2 for Final
Uploaded: 05/02/2016
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The following slide identifications are composed of material taught by Dr. Olson in ARH 304 Northern Renaissance.
Who are the 3 nude goddesses?
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:
What is the technique used in saint dorothy?
° 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
Who is the artist of adam and eve painting?
Significance:
Depicts the act of how to die well
Demons surround his bed symbolizing sin and faults of life If you want to learn more check out How do you know when a liar is telling the truth?
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 If you want to learn more check out What indicates the strength and direction of the relationship between the two variables?
° 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. If you want to learn more check out How do they influence body design?
° 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. Don't forget about the age old question of How do retailers add value to the products bought by customers?
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 If you want to learn more check out What is the length of mercury’s solar day?
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
