ARH202 Test 2

Question 1

Answer 1

• Leonardo da Vinci, Last Supper, 1495-98
• window behind Jesus could be considered a halo
• Da Vinci experimented a lot –> lead to poor lasting qualities
• taking place in a refectory in a church (where church goers would have eaten)
• wide range of emotions displayed in response to Christ’s announcement that one of his men would betray him
• suggests that Leonardo is interested in individual human beings and how we experiance emotions
• only calm person is Christ
• ideal geometry in image
  
  • Judas would normally be across from christ but he’s not in order to maintain this harmony
  • tension between the geometry and the narrative

Question 2

Answer 2

• Raphael, Marriage of the Virgin, 1504
• studied with Perugino
• made important strides during the High Renaissance
• coherence and logic to how this space was rendered
  
  • foreshortening, linear perspective
• shows Raphael’s familiarity with architecture
• story suggests that Mary had a number of suiters
  
  • theory was that the correct suitor would have a rod that would miraculously turn into flowers
• story is rendered so approachable and real in a way while still remaining harmonious and ideal

Question 3

Answer 3

• Michelangelo, David, 1501-04
• Michelangelo was one of the archetypal men of the Renaissance
• story of David and Goliath had strong ties with the city of Florence
• piece was originally commissione to fill in one of the niches of Santa Maria del Flores
  
  • was too good and was placed in the center of the city
• beautiful relaxed composure that evokes humanism and shows an interest in the antique past
• speaks to objects that are outside of itself
• tension between tense expression and relaxed body

Question 4

Answer 4

• Michelangelo, Creation of Adam, detail ceiling of Sistine Chapel, 1511-12
• bold interpretations to depict this scene
• beautiful use of humanism and naturalism to reimagine the scene in a way that it had never been imagined before
• languid beauty to the forms of the bodies
• very few specific references to Christ
• woman who God has his arm around is a mystery (Ever or Mary)

Question 5

Answer 5

• Tintoretto, Last Supper, 1594
• Venetian artist
• art that was used by the power and authority of the Church ot teach lessons
• the table is receeding into space at an angle
• raking light coming out of Christ’s head creating a stark contrast between lit figures and darkness
• tension between the two light sources
• imaging Christ and his party in a real life setting
• suggests a very different time period (mannerism)

Question 6

Answer 6

• Grunewald, Isenheim Altarpiece, 1510-15
• from the chapel of the Hospital of Saint Anthony, Isenheim Germany
  
  • monastic hospital
  • gives itself over to the potential wretchedness of the human body
• commissioned by the Catholic Church
• Northern Renaissance
• referring to important Christian narratives
• lamb is a representation of God
• interest in the horrible graphic expression of the human body
• underscores what it might be like to experiance these narratives
• tension between hope and tragedy

Question 7

Answer 7

• Durer, Fall of Man, 1504 engraving
• prints of his were widely sold and distributed
  
  • he was in a way a self promoter
  • he had people working on his behalf to make his work available to the common audience
• through his graphic prints he was able to have a cosmopolitan influence
• biblical story based on classical sculpture
  
  • two figures are depicted with a spectacular contraposta
  • idealized figures that reference the classical past
• many of the animals scattered about the image are part of the Northern inclination towards realism but also carries other meaning

Question 8

Answer 8

• Bernini, Ecstasy of St Teresa, 1645-52
• Cornaro Chapel, Santa Maria dell Vittoria, Rome
• suggest physical conversion and spiritual moment of ecstacy
• she’s in a moment of passion
• amazing visualization of an extremely dramatic vision
• window permeating yellow light over the scene creating this feeling of what the light of heaven would look like
• the drama and tension depicted is what Barouche is all about

Question 9

Answer 9

• Caravaggio, Calling of St. Matthew, 1597-1601
• introduces other elements of baroque art
• piece from the counter reformation
• everyday humble scene
• the meaningfulness of these stories cut across all areas and classes
• dramatic use of lights and darks

Question 10

Answer 10

• Ribera, Martyrdom of St. Philip, 1639
• Spain was falling and its time in the spotlight was gone but the Kings wanted to stay in power
• Martyrdom scenes were popular during this time period, pulling the viewer into the space
• extreme physicality
• everyday type setting
• dramatic diagonal created by the cross

Question 11

Answer 11

• Velazquez, Las Meninas, 1656
• royal commission
• Diego had the confidence to shift the conversation of what it meant to do royal portraiture
• this painting is about Diego and what he can do
• very complex painting that’s all about seeing and redefining portraiture

Question 12

Answer 12

• Rubens, Elevation of the Cross, 1610
• Rubens is arguably the most well known artist of this time period working in Flanders
  
  • well patronized artist
  • extremely successful in social circles and had lots of prominent friends and patrons
  • widely traveled
    
    • product of the international style
    • pan European style
    • benefited from studying different styles
• official painter to Spanish Court
• painting depicts a subject that we have seen before
• painted just after nearly a decade of study and travel in Italy
• very much a part of this Baroque dynamism and theatricality
• elevation of the cross with Christ nailed to it
  
  • emphasizes the physicality of the bodies occupying space
  • creates a dramatic diagonal that engages the eye across the whole piece
    
    • appears as if the top of the cross is tipping backwards and the bodies in the foreground are about to fall out of the piece
• twist and turn of bodies creates a dynamic space
• dramatic contrast of lights and darks
• story filled with tension and emotion
• different emotions expressed
• dramatic narrative

Question 13

Answer 13

• Rembrandt, Anatomy Lesson of Dr. Tulp, 1632
• Rembrandt himself was interested in civic portraiture
• group of surgeons interested in commissioning a civic prortrait
• Dr. Tulp is the chief Resident issuing a lesson on medicine to a group of students
• everbody is dressed the same
• foreshortened cadaver that is diagonally placed across the canvas
• light source enlivens the composition
• everyone is taking notes and paying attention–> placing importance on erudition
• references his own practice by suggesting that an artist has an intimate and deep understanding of the body similar to a doctor

Question 14

Answer 14

• Vermeer, Woman Holding a Balance, 1664
• light source coming in through the window highlights her
• desk full of gold jewelry
• plain setting with religious feeling to it
  
  • last judgement painting on the wall
  • symbolism of the objects
  • weights represent the balance of sin
• weight of the clothing evident

Question 15

Answer 15

• Poussin, Et in Arcadia Ego, 1655
• classical world
• rational stability
• 3 shepherds and an angel of death
• idealized bodies
• foreshortening
• motion emotion of baroque