1
Q
A
Sassetta, St. Francis in Ecstasy, San Sepolcro Altarpiece, 1437-44
- Patriarch of the poor
- Mandella- almond shape
- Three virtues at the top; poverty, raggedy dress; charity, holding flowers; obedience, yolk
- At the bottom is the opposite of the virtues; lust, looking at a mirror and sitting on a boar; greed, bag of coin falling out; wrath, war like
- St. Francis standing on the vices
- The entire altarpiece is surrounded around the theme of poverty
2
Q
A
Sassetta, Marriage of St. Francis to Lady Poverty, San Sepolcro Altarpiece, 1437-44
Showing his commitment to the virtue poverty
3
Q
A
Jacopo della Quercia, Ilaria del Carretto Tomb Monument, 1406
4
Q
A
Jacopo della Quercia, Fonte Gaia, Siena, 1408-19
The happy, gay fountain
5
Q
A
1.Jacopo della Quercia, Creation, Expulsion, and Adam and Eve at Work, San Petronio, Bologna, 1425-39.
6
Q
A
- Alberti, Tempio Malatestiano, Rimini, 1450
- Filled niche space in the front
- There is no religious indication that it’s a Christian church
7
Q
A
Agostino di Duccio, Signs of the Zodiac: Aquarius; Diana, Rimini, 1450s
8
Q
A
- Matteo de Pasti, Medal of Isotta degli Atti, 1446
- Rose bush
- Elephant
9
Q
A
1.Pisanello, Medal of Sigismondo Malatesta, 1445
10
Q
A
1.Bernardo Rossellino, Plan of Pienza, 1462
11
Q
A
1.Pisanello, Medal of Alfonso V of Aragon, 1449
12
Q
A
1.Triumphal Arch of Alfonso of Aragon and detail, Naples, 1453-71
13
Q
A
- Piero della Francesca, frescoes from the Legend of the True Cross, Arezzo, 1450s: Meeting of Solomon and Sheba
- Adds the annunciation although it’s not apart of the original story
- When Adam dies, the tree that sprouts over his grave becomes sacred; the wood gets buried and then Christ is crucified on iti
14
Q
A
- Piero della Francesca, frescoes from the Legend of the True Cross, Arezzo, 1450s: Discovery and Proof of the Cross
- Adds the annunciation although it’s not apart of the original story
- When Adam dies, the tree that sprouts over his grave becomes sacred; the wood gets buried and then Christ is crucified on iti
15
Q
A
1.Luciano Laurana, the Ducal Palace of Urbino, 1465
16
Q
A
- Studiolo of Federico da Montefeltro, Ducal Palace of Urbino, 1476
- A place where someone would go alone in order to read and study
- Would have paintings on scholars and men around the room
17
Q
A
- Piero della Francesca, Portraits of Battista Sforza and Federico da Montefeltro, 1472 (front and back)
- Portraits become very popular within the courts
- Man is with water, sign of movement and trade
- Woman is with land, sign of fertility
- Reverse: Triumph of Federico and Battista
Montefeltro medal
- Ball is a symbol of balance
- One side is military skills; swords, armor
- Venus and love on the other side; learning and education
18
Q
A
- Piero della Francesca, Flagellation, 1460
- Divided with two different time periods
- Before Christ is crucified he is wiped by his captors
- Helios (god of the sun) at the top of the column (pagan) in a classical room
- Pontius pilot sitting in the background
- The three people to the right look like a man from the eat, an angel, and a Duke
19
Q
A
- Piero della Francesca, Madonna and Child with Saints, 1472
- A great battle that Federico was victorious
- Egg over the Madonna’s egg
- The women in the back are wingless angels
20
Q
A
1.Pedro Berruguete or Justus of Ghent, Federico da Montefeltro and his Son Guido Baldo, 1476
21
Q
A
- Antonio Pisanello, St. George and the Princess, Sant’Anastasia, Verona, 1430s, fresco
- Good at depicting animals and nature
- Two men hanged in the background; makes it more naturalistic
22
Q
A
- Antonio Pisanello, Vision of St. Eustace, 1440
- Supposed to be from the time of Trajan
- Becomes a maredered and roasted alive because he became Christian
23
Q
A
- Antonio Pisanello, Medal of Leonello d’Este, 1444
- Lion- relates to his name
- Eros or cupid relating to love
- Lion and cupid is how love calms the beast
24
Q
A
- Antonio Pisanello, Portrait of Leonello d’Este, 1441
- Recognizable hair and head shape
25
1.Francesco del Cossa, fresco from the Hall of the Months (April), Schifanoia Palace, Ferrara, 1460s-70s
26
1.Alberti, Sant’Andrea (facade, plan and interior), Mantua, 1472
27
1.Andrea Mantegna, San Zeno altarpiece, 1456
28
1.Andrea Mantegna, Saint Sebastian, 1450s-70s
29
1.Andrea Mantegna, Camera Picta (Ludovico Gonzaga with his Family and Courtiers), Ducal Palace, Mantua, 1465-74, fresco
30
1.Andrea Mantegna, oculus from Camera Picta, Ducal Palace, Mantua, 1465-74, fresco
31
1.Andrea Mantegna, Parnassus, 1499-1502
32
1.Andrea Mantegna, Athena (Pallas) Expelling the Vices, 1499-1502
33
1. Sandro Botticelli, Madonna of the Pomegranate, 1480
- Pomegranate represents rebirth and resurrection
34
1. Sandro Botticelli, Adoration of the Magi, 1470s
- Classical building and ruins
- Reminder that the old Pagan life is gone and Christian life is coming/ present
- The artist is all the way to the right and the same size as the other figures
- The patron is to the right behind a few people, looking at the artist
- The Medici brothers are to the left of the painting
35
1. Sandro Botticelli, Primavera, 1480
- Goddess of Spring—Pagan concept
- The three graces—gift giving, what goes around comes around
- Cupid at the top
- Zephyr, the west wind, to the right
- Mercury to the left, seasons will change and fertility will be alive
- Cloris and Flora to the right
- Medici commission
- Mimicking tapestries
- Orange trees is to recall Medici coat of arms
- Cloris and Flora is being chased by Zephyr, he rapes Cloris and then they fall in love and then he turns her into Flora, goddess of flowers
- Primavera looks pregnant
36
1. Sandro Botticelli, Birth of Venus, 1480
- Almost manneristic forms
- Elongated features on Venus—the fingers
- Cronus cuts off the genitals of his father Uranus, from the genitals and the sea foam, Venus is born in the ocean, she comes ashore on an oyster shell
- Dedicated to earth, beauty and mystical, spiritual
- Zephyr and Aurora- the west wind
- Woman represents spring, covered in flowers and roses
37
1. Sandro Botticelli, Camilla and the Centaur, 1482
- Was next to the Primavera in its original location
- She seems to represent chastity
- Centaurs usually represent lust
- She is taming him, restraining him
- Medici commission—on her clothes there is a symbol of the Medici—three diamond rings
38
1. Sandro Botticelli, Man with a Medal, 1460s-70s
- Shown engaged with the viewer
- Holding a medal (it is raised from the panel due to gilding) showing Medici
- Learned landscape from Lippi (he knew a lot about Northern landscape)
39
1.Sandro Botticelli, St, Augustine in his Study, 1480, fresco
40
1.Sandro Botticelli, St. Augustine in his Study, 1490s, tempera on panel
41
1. Sandro Botticelli, Mystic Nativity, 1500
- They didn’t know what would happen when it turned 1500, similar to how we didn’t know what would happen when it turned 2000
- Angels embracing each other at the bottom
- Demons at the bottom as well
42
Giuliano da Sangallo, Medici Villa at Poggio a Caiano, Florence, 1480s
43
1. Giovanni and Bartolomeo Bon and Matteo Raverti, Ca’d’Oro (Contarini Palace), Venice, 1421-37
- Similar to Medici Palace in Florence
44
1.Gentile Bellini, Portrait of Sultan Mehmet II, 1479
45
1.Gentile Bellini, Procession of the Reliquary of the True Cross in Piazza San Marco, 1496
46
1.Vittore Carpaccio, Miracle at the Rialto, 1494
47
1.Giovanni Bellini, San Zaccaria Altarpiece, 1505
48
1.Giovanni Bellini, Saint Francis, 148
Art History
flashcards
Decks in class (18)
# Cards
-
Midterm86
-
Roman Art Final75
-
Baroque midterm20
-
18th century midterm31
-
18th Century Final37
-
Baroque Final20
-
Renaissance Midterm56
-
Ren Final48
-
Medieval 125
-
Medieval 220
-
Medieval 325
-
Medieval 414
-
African Midterm50
-
Latin American42
-
Contemporary36
-
African final67
-
Contemporary Art Final40
-
latin america final37
