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AHI 1B Final Study Guide

by: Kayla Dillard

AHI 1B Final Study Guide AHI 1B

Kayla Dillard

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About this Document

This study guide has images and information for each artwork since midterm 2 (total of 29) that may show up on the final (3/19/16). The final study guide should be used in addition to the midterm 1...
Medieval and Renaissance Art
Dr. Ch'ien
Study Guide
AHI 1B, Medieval to Renaissance Art history, Dr. Ch'ien, UC Davis
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This 11 page Study Guide was uploaded by Kayla Dillard on Saturday March 12, 2016. The Study Guide belongs to AHI 1B at University of California - Davis taught by Dr. Ch'ien in Winter 2016. Since its upload, it has received 95 views. For similar materials see Medieval and Renaissance Art in Art History at University of California - Davis.


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Date Created: 03/12/16
AHI 1B Final Study Guide Limbourg Brothers, Les Très Riches Heures du Duc de Berry, 1413-1416 • 12 pages of a book of hours—selection of prayers and readings that are organized for the reader to keep up with prayer and meditation • the perspective allows the Duke to see down on the people from a position of power • extremely expensive book February, Limburg Brothers (above) • farm people relax by a fire and seem content • the sheep and people all behave nicely, makes the sheep and people equal October, Limburg Brothers (above) • the people don't seem to have emotions—they are pieces of the landscape • a man is disinterested in sewing, another man is on a horse plowing the field Hours of Mary of Burgundy, 1480 • Mary of Burgundy has a giant gold necklace and a velvet dress, and is sitting on a velvet cushion with a little dog on her lap (clearly very rich) • she holds the book of hours with a cloth to keep it clean • the window opens on a scene where the Virgin Mary sits with Christ on her lap in a church • idea: through prayer, heaven can be achieved, in the form of the Church (as a building and an institution) Jan van Eyck, TheAnnunciation, 1434-1436 oil painting with glaze and gesso—makes • detail possible because it dries slowly, makes it shinier, and brush strokes don't show at all • narrative scene, but the painting is also asking the viewer what theAnnunciation means thematically through the inclusion of very small details • Angel Gabriel appears to Mary to tell her she will give birth to Christ • God is in the window, the Holy Spirit (the dove) is flying to Mary, and 3 windows (the trinity) frame Mary’s head Hubert and Jan van Eyck, GhentAltarpiece, completed 1432 • made of 12 panels, called a polyptych • unified but has different sections—theme of salvation in the interior and exterior • Isabel Borluut and Jodocus Vyd are praying facing Saints who are illusionistic stone sculpture • Jan is playing with the boundaries of paint—he is mimicking sculpture • there is a landscape scene with a lamb being sacrificed (Christ was sacrificed for sin) • Adam and Eve’s nakedness contrast with the scene—they look vulnerable and subject to decay, andAdam’s lifted toes show that he would go forward but his shame keeps him there • God the father is wearing the triple tiara (which is covered in jewels in district patterns and designs) that the pope wears—each jewel has light reflection and shadow in precise locations • Jan used meticulous detail and extreme dedication to illusion in his paintings Jan van Eyck, GiovanniArnolfini and His Wife (Arnolfini Wedding), 1434 • a convex mirror hangs on the wall and shows the reflections of Giovanni, Giovanna, the painter, and 2 witnesses • the mirror is a luxury object but is also a symbol of the all seeing eye of God, and it is before God that oaths are sworn—the painter in the mirror has become the all seeing eye of God • documentary quality painting matters because it is a legal scene • the single candle in the chandelier is a symbol of Christ’s presence Jan van Eyck, Man in a Red Turban, 1433 • believed to be Jan’s self portrait—he doesn’t portray himself as handsome • original frame reads “the best that I can do”— humble brag Hans Memling, Dyptych of Martin van Nieuwenhove, 1487 • Martin prays to Mary in this diptych • mirror shows the other side of the room and the backs of Mary and Martin that cannot be seen and unites the two panels • there is a bridge from his hometown in the window—the Virgin came to him he didn't go to church to go to her Masaccio, Trinity, 1424-1427 • uses 1 point perspective, human figures mark each spatial plane the skeleton greets people and is a reminder of • death • Mary and Saint John stand next to Christ who is being crucified on the cross, God the Father is behind Him and the Holy Spirit is the dove Gentile da Fabriano,Adoration of the Magi • all about surface, not depth—people are smaller further away but it is not 1 point perspective • all the people are winded through the landscape—shows the journey to go see Christ and how much people want to see Him • the gold creates a sparkling effect across the surface of the painting FraAngelico, San MarcoAltarpiece linear perspective is orderly but too close to the • human world for comfort • there is a gold icon painted at the bottom and it serves as the portal to go into the Virgin’s space idea: through prayer and the icon, you can go • into the Virgin and Christ’s world Brunelleschi, Ospedale degli Innocenti, Begun 1419 • product of the silk and goldsmith guild (there was no architect guild)—hospital for children with no homes • mathematical building with classical forms and thin pillars • take away: the harmony is created through regularity and mathematical perfection, the forms are form the ancient world but put together in different ways Leonardo da Vinci, The Last Supper, 1495-1498 • was supposed to be a fresco but Leonardo didn’t like fresco so he used some mixture of oil and tempera on a dry medium and it started flaking off during his lifetime—he was asked to repaint it • great depth b/c of 1 pt perspective • the painting mixes the flat planar frontally and the deep space that collapses on Christ’s head Leonardo da Vinci, Mona Lisa, 1503-1505 • really no line on her face or hair, just a haziness (made possible by oil paint)—called sfumato (Italian word that means smoky) • people are obsessed with her smile because there is no line, just shadow and its hard to tell if she is smiling or not • chiaroscuro—means light/dark, using both together at the same time • Leonardo liked restricting what we see—he used a lot of soft shadows even in drawings Perugino, Christ Delivering the Keys to St. Peter, Sistine Chapel, 1481-1482 • very deep perspectival space with the Christian church as the vanishing point • 2 pagan triumphal arches next to the church Michelangelo, Creation ofAdam, Sistine Chapel, 1508-1512 • God the Father reaches out and gives lief to Adam—the whole story is told in two hands • God is active,Adam is passive, one gives and one receives • “ignudi” (anonymous nude people) are around this scene and throughout the entire ceiling Michelangelo, Libyan Sibyl, Sistine Chapel, 1508-1512 • Michelangelo finds pleasure in taking things past their requirements • the woman’s body is twisted as much as possible and all of her weight is balancing on one toe Raphael, Madonna of the Meadow, 1505-1605 • St. John and Christ are interacting as babies • delicate balance between forms and softness • the woman looks serine but the way she is sitting would take a lot of effort if even possible Raphael, School ofAthens (Philosophy), 1509-1511 • allegorical painting for the Pope’s room • yellow paint is transformed to look like gold • Pope shows importance by showing that he is able to get a painter that can do amazing things • the painting is a window onto a world • the people in the painting are identifiable philosophers • Rafael puts himself in the painting among the other philosophers Titian,Assumption of the Virgin, 1515-1518 • Virgin’s triumph over death—her hands are lifted up and she is choosing this destiny • God the Father awaits her in Heaven • apostles are below her on earth and heavenly hosts in the form of babies are lifting her up— each realm is joined Veronese, Christ in the House of Levi, 1573 • 18x42 ft—very large oil on canvas painting made for a church • was a commission for The Last Supper • Church officials flipped out because of all the chaos and strange occurrences • Veronese went to the inquisition because of this painting and said “painters take the same license as poets” to imagine—authority of creation within himself (new concept) • he was required to revise and resubmit the painting in a certain amount of time—all he did was change the title to “Christ in the House of Levi” Gentile Bellini, Procession in Piazza San Marco, 1496 • 12x24 ft painting • people are exiting Palazzo Ducale and processing into the church—no separation between church and state • commissioned by the confraternity (people in white robes) • narrative/miracle— the man kneeling on his knees wearing red pays his respects to the relic of the true cross (owned by confraternity) and his son who was deathly ill is miraculously cured at the moment he kneels • doge is small and not the focus Gentile and Giovanni Bellini, St. Mark Preaching inAlexandria, 1504 • St. Mark (wearing red and blue) is preaching • polytomic—space that St. Mark occupies is bothAlexandria and Venice • anachronic—work of art that refers to multiple points in time (hallmark of the Renaissance) • lets people make a foreign part of history local Jacopo Tintoretto, Stealing of the Body, 1562-1566 • the storm is particularly terrible—the storm clouds are black, the sky is orange, there is lightning, water is pouring over the sides of the building turning the piazza into a shallow bathtub • this is actually the 1st century stealing after St. mark dies • prefigures the 9th century stealing of the body because it looks so much like Venice—“true predestined resting place”—looks like they are walking towards the Basilica San Marco • uses anachronic and polytonic strategies • uses linear perspective Mattias Grünewald, IsenheimAltarpiece, 1510-1515 • has multiple stages of opening—people would have to go to church on multiple occasions to see all of the views • the monks that commissioned this specialized in caring for ergotism: called St.Anthony’s fire —caused rotting wounds and a very painful death • closed: • crucifixion scene—very bloody, the lamb of God has blood pouring from it into a golden cup • this is a mortal Christ who is suffering • other view: • happier—present during feast days— times of relief form agony • the annunciation is on the left, then a nativity with Mary and Christ, and Christ triumphing over death, pain and disease is shown on the right (the nail holes in his hands are shown emitting light) Pieter Bruegel the Elder, The Wedding Dance, 1566 • shows guests engaging in a celebratory dance after the wedding—lively and awkward, skirts are flapping, feet are stepping high • this painting may be about a longing—the new middle class want to feel superior to the peasants but this painting makes it look like a lot of fun • some of the men have aces on their hats—they would try to collect laces from women and put them on their hats • artist is an observer of the peasant class Titian, Self-Portrait, 1560-1562 • both hands are at rest and he is gazing off into space—no trace of having reported the image • labor happens in the mind • he is worthy of a portrait because of his career in painting, but he cannot depict himself painting because that would lower his status Albrecht Dürer, Self-Portrait, 1500, Oil on wood he makes himself look very similar to Christ • and his fingers are slightly parted like he is giving a blessing—likening himself to God iconographically • artist is like God—they both create something out of nothing, give life to base materials • greatest claim of status of the artist—they have the power to transport people to other realms just like God


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