×
Log in to StudySoup
Get Full Access to UH - HIS 127 - Study Guide - Midterm
Join StudySoup for FREE
Get Full Access to UH - HIS 127 - Study Guide - Midterm

Already have an account? Login here
×
Reset your password

UH / History / HIST 1381 / What is leonardo’s influence on raphael?

What is leonardo’s influence on raphael?

What is leonardo’s influence on raphael?

Description

School: University of Houston
Department: History
Course: Art and Society: Renaissance to Modern
Professor: Rodney nevitt
Term: Spring 2017
Tags: Art, history, and ARTH
Cost: 50
Name: ARTH 1381 exam 2 study-guide.
Description: This is a study guide for exam two on Thurs. 3/30.
Uploaded: 03/25/2017
12 Pages 58 Views 8 Unlocks
Reviews


Exam Two:


What is leonardo’s influence on raphael?



-end of the High Renaissance (finish PowerPoint 5)

-Raphael: he had a different personality than Leonardo &  

Michelangelo. However, you see Leonardo’s influence on Raphael—this  can be seen with how the figures are in 3 (pyramidal), which is similar  to Leonardo’s Virgin of the Rocks (1483-1490). Also, there is a hint of  sfumato*  

-Marriage of the Virgin (1504): oil on wood; painted for the chapel of  Saint Joseph in Florence.  


What kind of painting is the madonna of the meadow (1505-1506)?



-Madonna of the Meadow (1505-1506): oil on wood. Figures are  Don't forget about the age old question of How did adams win the election of 1824?

composed in 3 in subtle chiaroscuro**

- Philosophy (School of Athens) (1509-1511):  


Where is fresco located?



fresco; it is located in the Stanza della Signature

(Hall of Signatures) in Vatican City, Rome;  

commissioned by Julius II. It represents Greek  

philosophers such as Plato & Aristotle. There is a  

self-portrait of Raphael on the right. Michelangelo  

(or Heraclitus… it is vague as who the man is) is  

shown in the middle left in a melancholy***  

manner. Overall, it shows how the High  

Renaissance was about increasing monuentary figures.  

*sfumato: smoky, vague, blurred

**chiaroscuro: bright & dark If you want to learn more check out What is the hieroglyphic symbol for pharaoh?

***In the Renaissance, melancholy was associated with genius.

-What is Mannerism? 

-from “maniera” (manner) & “grazia” (grace)… and now to the modern term Mannerism.  -An extension of the period of the High Renaissance in mid-16th century Italy.

-represents a weird rejection of many things from the High Renaissance as well as an intensification of things that were already present. However, it is NOT anti-Renaissance

-instead of beauty & realism, now we have hyperrealism/ beautification (ex: porcelain  skin)… also very erotic. Additionally, there is a presence of: bright, contrasting, elongated  figures, & visual complexity

-the meaning of many Mannerist artworks were ambiguous If you want to learn more check out How do you calculate consumption spending?

-Agnolo Bronzino: from Florence, Italy

-Venus, Cupid, Folly, and Time (1546): oil on wood. It was  

commissioned by the head of the Medici family & given to the  

King. The meaning of the painting is ambiguous.  

-Jacopo da Pontormo: also Florentine  

-Entombment of Christ (1525-1528): oil on wood; altarpiece for a  We also discuss several other topics like Why is supply inelastic in the short run?
We also discuss several other topics like What is a risk and what is a hazard?

church in Florence. It depicts disciples around the body of Christ  

after he is taken down from the cross, and the Virgin Mary in  

blue. Note that here, it is a religious subject, but it is in the  

same style as other Mannerist paintings.

-Parmigianlno: from Italy If you want to learn more check out What are the characteristics of possessive?

-Madonna of the Long Neck (1535-1540): oil on wood; altarpiece.  

Another religious subject. Note the mannerist tendency to  

idealize (the hyper-elegance… ex: texture of the shirt).  

-Key History of Artwork at this time: 

-figures in central Italian paintings = crisply defined & contouring of figures but now  Venetian figures = a softer touch

-Venetian painters were first to favor/pick up oil as a medium

-Venetian paintings were ‘poetic’… acting like poetry & paintings were seen as paintings  

-Disegno means design of a painting (ex: posing; arrangement of figures). Mostly the  foundation of art for central Italians (in Florence) and Norther Europeans.  

-Colorito means color and it was the strong point for Venetians… rick & luminous colors -landscape in the 16th century appears now

-Giovanni Bellini: Venetian artist; teacher to two others (Giorgione  

& Titian)  

-Madonna and Child with Saints (San Zaccharia Altarpiece 1505):  

oil on wood transferred to canvas.

It is a Sacra Conversazione = Sacred Conversion of grouping; an  

altarpiece style of figures in a semicircle conversing

-Giorgione: a Venetian artist  

-The Tempest (1510): oil on canvas. Not clear who the man &  

mother is. This painting is a great example of how in the 16th 

century: multiple paintings were being displayed together so  

paintings seen as paintings. Thus it suggest the landscape is  

the subject of the painting and the figures are just there.

-Titan: Venetian artist who was flexible (ex: artwork was mythological, religious, etc.). He  also combined Venetian motifs with central Italian action-packed figures. His painting had  THICK pigment and was known for conveying light through color.

-Pastoral Symphony (1508-1511): oil on canvas; an  

independent picture. Subject = landscape view of 2 males,  

2 females, & an individual with a bagpipe in the background.  

Males: 1 is elegant & 1 is peasant-like (a familiar look from  

pastoral poems). Pastoral Poets had an erotic/love theme.  

Also, it shows the Villa theme developing in the  

Renaissance.  

-Assumption of the Virgin (1515-1518): oil on wood; altarpiece.  

Iconography = Virgin Mary heading to heaven on cloud & disciples  

below (it became a common theme). Here Titian merges heroism  

with Venetian color (rich & luminous colors).  

-Pesaro Madonna (1519-1526): oil on canvas; side-aisle ???? ???? ????

altarpiece. Pesaro is a member of a family that the painting was  

dedicated to. The diagonally arranged figures create a dynamic  

composition

-Venus of Urbino (1536-1538): oil on canvas; doesn’t  

necessarily represent Venus (the goddess of love); owned  

by the Duke (not necessarily commissioned by him).

-Titan and Palma Giovane: Later in Titan’s career.  

Palma was a younger pupil. Late style in Titian’s career  

is sketchy… however, the tradition of rough painting  

had a long legend after Titian.

-Pieta (1570-1576): oil on canvas. Iconography is  

religious… after crucifixion with Mary Magdalene  

(usually depicted with long hair) on the left.  

-Moving on to 16th century art in northern europe: 

-In 16th century Northern Europe, there is a contact with Italian Renaissance…  figures are classical  

Matthias Grunewald: German painter.  

Isenheim Altarpiece (1510-15): oil on wood.  

Represent the altarpiece when it is closed, open  

(second position) & open (third position),  

reespectively. The theme is cruxifiction; all

figures are super realistic.

????Central Image: Left: Saint Sebastian (may be in  

controposto stancs);Middle: depicts Virgin Mary,  

St. John the Baptist (although he died before the  

cruxifiction) w/ the lamb; Right: Saint Anthony.

Second Position: opened on Sundays. Left: annunciation; Middle: chorus of angels playing  music w/ the Virgin and Child; Right: resurrection of Christ  

Third Position: interior is carved wood and guilded sculptures; elaborate gothic frame like  the Ghent Altarpiece. The main figure is St. Anthony and scenes from his life are depicted  on the left and right.

~~the theme of healing & suffering/sickness is the underlying messages… “connection of  the healing of body and soul” is why St. John the Baptist is there.

Albrecht Durer: merges Northern European identity w/ Italian  

nude.  

Self Portrait (1500: oil on wood; an unsusual pose for a self  

portrait. Durer represents himself Christlike. He is immitating  

divine characteristics of a genius.  

Adam and Eve (1504): engraving; 1st example of printmaking. The  

outline is in a copper plate w/ burin.

Melancolia I (1514): engraving; thought there were many types of  

Melancolia and this depicts Melonchalia I.

Four Apostles (1526): oil painting; Durer supported Lutheranism; it  

represents religious figures; displayed in the town hall of Nuremberg so  it had a civil context (commission from the government of Nuremberg).  

Hieronymus Bosch: a Netherlandish painter; we don’t know much about him

Garden of Earthly Delights (1505-1510): oil painting; a triptych; a large altarpiece (shown  open below); depicts a landscape view w/ little figures & imaginary motifs. Thus, there is  no clear iconic image & this is why it couldn’t really function as an altarpiece… it was in an  

art collection (not in a church because ideologically, it was created for an audience that  collects artwork).

Left: represents Adam &  

Eve/ Garden of Eden

Middle: depicts many  

strange things such as  

enlarged song birds  

Right: shows scene of hell

Joachim Patenir: a local painter & almost all his work  

revolved around landscape  

Landscape with St. Jerome (1520-1524): oil painting; NOT an  

altarpiece; it was a private collection of art.  

-Pieter Aertsen: known for still life & genre painting  

(paintings of everyday life)

Butcher’s Stall (1551): a still life painting of food; the idea  

of gluttony & idea of giving to the poor & salvation…. Mary &  

the Christ Child in the background  

-Pieter Bruegel: painted landscapes, human activities & peasant servants  

Netherlandish Proverb (1559): it shows his understanding of  

human nature throught many proverbs  

Hunters in the Snow (1565): one of many paintings that  

showed seasonal changes across several months. Recall that  

this tradition was from the Book of Hours

-Italy & Spain in the Baroque: 

-refers to European art from 1600 to 1750

-In contrast to the simple, rational style in the Renaissance, Baroque artwork had  dramatic, exaggerated features and elaborate ornaments. Baroque artwork was irregular  and unequal… no rules of proportion.  

-Annlabale Carracci: Italian painter; his gallery was in the  

Palazzo Farnese in Rome, Italy.  

Loves of the Gods (1597-1601): frescos on a curved vault;  

known as quadro riportato = ceiling design where paint scenes  

are arranged in panels that resemble framed pictures. It  

depicts mythological scenes in chiaroscuro light.  

Caravaggio: Italian painter. His work had tenebrism =  

a shadowy manner/ contrast of light and dark. Many  

painters followed his naturalism and drama. However,  

the impact of Caravaggio is short lived in Rome.

Calling of St. Matthew (1597-1601): oil on canvas; in  

the Contarelli chapel. There is naturalism in the  

religious painting; the light focuses on the tax  

collector.

Conversion of St. Paul (1601): oil painting; another religious  

painting; located in the Cerasi Chapel. St. John the Baptist is in  

the foreground, and his blood forms Caravaggio’s signature.  

Artemisia Gentileschi: a female Italian painter; her favorite  

theme was heroic women; like Caravaggio, had tenebrism in her  

artwork.

Judith Slaying Holofernes (1614-1620): oil on canvas; the  

dramatic lighting is similar to Caravaggio’s.  

Self Portrait of as the Allegory of Painting (1630): oil on canvas; the  way she paints herself resembles a text called “Iconologia”, which  describes how human appearances should be depicted.  

-Guido Reni: Italian painter;  

artwork is in a much more  

classical style (brighter colors)  

unlike paintings above.  

Aurora (1613-1614): a ceiling  

fresco in Casino Rospigliosi in  

Rome. He saw it as a quadro  

riportato.

-Gianlorenzo Bernini: Italian  

sculptor & painter

Interior of Cornaro Chapel in Rome

(1645-1652): sculptures carved out  

of marble with rods arranged behind  

the figures ???? Ecstasy of Saint  

Theresa zoomed in shows the  

Saint’s lifelike emotions.  

St. Peter’s with Bernini’s plaza (1656-1667): Vatican  

City, Rome. The colonnade (rows of columns) set a  

welcoming environment through which worshippers  

enter St. Peter’s plaza.  

Giovanni Battista Gaulli: Italian artist who worked with  

Bernini early in his career.

Triumph of the Name of Jesus (1676-1679): it was a ceiling  

fresco. It can be described by the adjective “baroque”, which  

was a jewelers term referring to irregular shapes.

Jose de Ribera: a Spanish painter; influenced by Caravaggio.  

Martyrdom of Saint Phillip (1639): oil on canvas. Caravaggio’s  influence here is direct--- notice the drama & realism of the  figures. Scenes of Martyrdom in Spain were popular during  Counter-Reformation.

Diego Velazquez: Spanish painter; influenced by Caravaggio.  Notice that his paintings had delicate paint pigments that  seemed to flicker (unlike Titian a century earlier, whose paint  pigments were THICK).  

Water Carrier of Seville (1619): oil on canvas. Seville was the  southwest part of Spain. It depicts the selling of flavored  water in a cellar. Iconography = the “genre of painting” of  images from the market/ selling food… still life. His painting  seems to have a deeper significance;

Las Meninas (1656): oil on canvas; also known as the Maids of  Honor; a late painting by Velasquez. It is an unusual painting  because it is a group painting on a large canvas. It depicts  Princess Margarita (the child in the center) & the rest of the  court. Additionally, it shows King Philip IV & the queen are  reflected in the mirror. It is possible that he got the mirror  idea from Jan Van Eyck’s painting of Arnolfini and his wife.

Page Expired
5off
It looks like your free minutes have expired! Lucky for you we have all the content you need, just sign up here