Ap art history term 2 test 3

AP Art History

Test 3

Entombment• 1525-28, Jacopo da Pontormo, Santa

Felicita, Florence• Created as an altarpiece• Ambiguous composition, which enhances the

visionary quality of the painting• Little sense of location or place• Emotional atmosphere expressed in odd

poses and drastic shifts in scale• Great use of secondary colors and

contrasting colors• No dead center• Moves in illogical way

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Madonna with the Long Neck• C. 1535, Parmigianino, Uffizi• Takes the renaissance art and bends and

contorts it• Child assumes pose of pieta• Shatters perspective- no middle ground• He was influenced by Correggio and

studied under Raphael and Michelangelo• St. Jerome is in the background• This work challenges the viewer’s

intellect while it exerts its strange appeal to aesthetic sensibility



Portrait of a Young Man• 1530’s; Bronzino• Court painter for Medici• Best known for his portraits in the

courtly Mannerist style• He rendered costumes and settings

that created a cold and formal effect

• The self-contained demeanor of his subjects conveys their haughty personalities

• This work demonstrates his characteristic portrayal of his subjects as intelligent, aloof, elegant, and self-assured

• The subject plays with a book. Suggesting his scholarly interests

• His stare creates an unsettling effect



Last Judgment• 1534-1541; Michelangelo, fresco

on the altar wall of Sistine Chapel• This was the first major

commission of Pope Paul III• The figures are not clearly defined,

but are writhing, rising, and falling• The Virgin is shrinking, which

shows a change from Gothic tradition

• Michelangelo painted his own self as the peeled skin held by St. Bartholomew

• Conservative clergy criticized the work for its nudity

• It was interpreted as a grim and constant reminder of the celebrants of the Mass -- the pope and his cardinals



Campidoglio (Capitoline Hill)• 1537, Rome, Michelangelo• It was his biggest project• He was the architect of St. Peter’s• Intention of palazzo was to show

triumphant Catholicism• Roman Forum is behind it -- from

the Roman past comes the Catholic, Roman present

• The urban design links the present, past and future

• Marcus Aurelius sculpture here• Best embodiment of aspirations of

counter-reformation



Self Portrait• 1552, Sofonisba Anguissola, oil on

parchment• She wasn’t the daughter of an artist• Michelangelo was very friendly to

her and they exchanged paintings• She painted herself holding a

medallion with a border spelling out her name and home town

• Her sisters names appear in the middle

• Shows enthusiasm for classics in Renaissance Italy

• She later became the court painter for the queen of Spain



Abduction of the Sabine Women• C. 1583, Giovanni da Bologna,

Loggia dei Lanzi, Piazza della Signoria, Florence

• Bologna was a French artist who became very popular among Italians

• This work is flame-like in its multiple vantage points



Interior Courtyard of the Palazzo del Te• 1525-1535, Guilo Romano, Mantua• Romano was a Roman architect and

follower of Raphael• It served as the Gonzaga family’s

pleasure retreat• Built for Federigo Gonzaga• Shows mannerist influence• Rules bent on classical• Classical columns altered on purpose• Huge keystone• Big moving blocks• Voussoirs decorative• Inside is contemporary with the birth of

Opera



Façade of Il Gesu• C. 1575- 1584, Giacomo della

Porta• Main Jesuit Church - Loyola didn’t

live long enough to see its beginning

• Cardinal Alessandro Farnese donated funds to the project

• Della Porta succeeded Vignola (the chief architect) in finishing the dome and the façade

• Has a wide, barrel-vaulted nave, shallow connected side chapels, but not aisles, short transepts

• Façade emphasized central portal with its classical pilasters, engaged columns and pediments

• The design has great verticality and centrality

• It abandoned the early Renaissance grid of classical pilasters and entablatures

• Has rhythmic flow, challenging Ren. flatness



Saint Francis in Ecstasy• C. 1470’s, Giovanni Bellini• Work demonstrates Bellini’s intense

investigation and recording of nature associated with early Renaissance

• Illustrates his command of an almost Flemish realism

• St. Francis stands in communion with nature

• His hands show the stigmata• Old and new testament themes united to

associate Francis with Moses and Christ• Tree = burning bush, grapevine +

stigmata = Christ’s sacrifice• Details, luminous colors, symbolic

elements = Flemish• Golden light = Venetian• Almost poetic• Preaching of divine in nature and his

ecstasy of receiving stigmata• True landscape painting begins



Pastoral Symphony (Fete Champetre)• C. 1508, Giorgione (and Titian?)• He introduced enigmatic pastoral

themes, sensuous nude figures, and an appreciation of nature in landscape painting

• He probably studied with Bellini• Da Vinci also probably inspired him• The fertile landscape seems to be

the true subject• Like poetry, the painting evokes a

mood, a golden age of love and innocence seen in ancient Roman pastoral poetry

• Had profound influence on later painters

• Naked women = muses - inspirational and model of beauty

• “Fete” = party



Pesaro Madonna• 1519-26, Titian, side-aisle

altarpiece, Santa Maria Glorioso dei Frari, Venice

• He studied under Gentile and Giovanni Bellini

• Made official painter to the Republic of Venice

• Commissioned by the commander of the papal fleet - Jacopo Pesaro - that had defeated the Turks

• Asymmetrical setting, with Virgin and child on a high throne and arranged saints and the Pesaro family at the sides

• St. Peter is shown in the center• Use of primary colors• Famous for his mastery of light and

color• the composition is well balanced,

but on diagonals



Venus of Urbino• C. 1538, Titian, (Uffizi)• Painted for the duke of Urbino• Titian was inspired by flesh-and-

blood beauty as by any source from mythology or the history of art

• The dog is a symbol of fidelity• There is a domestic quality• She looks real and like classical

sculpture• Mapped out in space, foreground,

middle ground, background• Often referred back to• High court lady - prostitute



Christ in the House of Levi• 1573, Paolo Veronese• He created elaborate architectural settings and costumes, often unconnected with the main

subject• Painted for the Dominican Monastery of Santi Giovanni e Paolo• The huge size of the work allowed Veronese to include the sort of anecdotal vignettes

beloved by the Venetians• Jesus is at the center • Church officials of Venice were shocked by this painting• He was called before the Inquisition to to explain his reasons for some of the odd details• His reply showed great artistic autonomy• He simply changed the name of the work from the Last Supper to this title



Last Supper• 1594, Tintoretto, Venice• His style developed from and

exaggerated the techniques of Titian

• His goal was to combine Titian’s colors with Michelangelo’s drawing

• Painted for the choir of the Church of San Giorgio Maggiore, which was designed by Palladio

• High horizon vanishing point• Great individuality• The figures turn and move in a

continuous serpentine line that unites the apostles, servants and angels

• 2 light sources: one real, one supernatural

• Mood of intense spirituality, enhanced by deep colors

• Reflects both Byzantine art and Mannerist aesthetic

• Interpretation has changed to the institution of the Eucharist



Villa Rotunda• C. 1566-70, Andrea Palladio, near

Vicenza, Italy• Designed as a retreat for relaxation• He placed an Ionic order porch on

each face of the building• It was inspired by another rotunda,

the Roman Pantheon• It was purchased by the Capra

family and also became known as Villa Capra

• Great geometric clarity• A circle inscribed in a small square

inside a larger square• The central dome on a domestic

building was a daring innovation that secularized the dome



West façade of San Giorgio Maggiore• 1560s, Palladio, Venice• His work was characterized by

harmonious symmetry and a rejection of ornamentation

• He was a stone mason• He changes domestic architecture• It has a renaissance façade, and a

traditional basilica-plan elevation• He created the illusion of 2 temple

fronts of different heights and widths

• Colossal columns support an entablature and pediment that front the narrower clerestory level of the church

• He kept Alberti’s motif of the triumphal arch entrance

• This is part of a monastery• 2 temple facades, harsh

juxtaposition





The Burial of Count Orgaz• 1586, El Greco, San Tome, Toledo,

Spain• Trained as a Byzantine icon painter• Work shows a mix of Byzantine

icon + late Renaissance• Entered Titian’s shop, but he must

have studied under Tintoretto and Veronese

• His style reflected Venetian artists’ rich colors and loose brushwork

• It expressed the intense spirituality of mystics

• Commissioned by Orgaz family• Local aristocracy are shown as well

as religious notables• His own son is shown• St. Stephen & Augustine shown• Inverted Latin cross composition• Paints almost only religious scenes• He separated heaven and earth by

elongation of heavenly figures and light



View of Toledo• C. 1610, El Greco• Painted later in his life• A cityscape transformed into a

mystical illusion • His precisely accurate portrayal of

Toledo’s geography and architecture seems to have been overridden by his desire to convey his emotional response to the city

• Burst of heavenly light• Small figures everywhere• Shatters reality



Bacchus• 1595, Caravaggio, Florence• Looks classical• Equilibrium between real and unreal• Great foreshortening• Look that its not real - theatricality• Distinctive lighting = tenebrism



The Calling of St. Matthew• C.1600, Caravaggio, Rome• This was his first public commission, for

Contarelli Chapel in the Church of San Luigi dei Francesi

• Depicts Jesus calling Levi, the tax collector, to join his apostles

• Jesus is nearly hidden by Peter• For his naturalism, he used antique and

Renaissance sources• Jesus’ outstretched arm recalls the

Creation of Adam by Michelangelo• Little symbolism - beginnings of

modernism



Judith with the Head of Holofernes• C. 1625, Artemisia Gentileschi• She was a follower of Caravaggio• She helped spread his style beyond

Rome• She worked under her father• In Florence, she worked for the grand

duke of Tuscany and was elected to the Florentine Academy of Design

• She used Baroque naturalism and tenebrist effects, dramatically showing Judith still holding the bloody sword

• She often painted heroic abused women• Mostly darkness, she pulls the light

source into the canvas



Ceiling Fresco, Palazzo Farnese• 1600, Annibale Carracci• This was the major monument of the

early Baroque classicism• Painted for the Farnese family to

celebrate a wedding• This was the gallery of their immense

Roman palace• Commissioned by Cardinal Odarico

Farnese• He started an art school with his brother

in Bologna• Tribute to earthly love, expressed in

mythological scenes• Its center piece is a joyous procession

celebrating the wine god Bacchus’ love for Ariadne

• He created the illusion of framed paintings, stone sculpture, bronze medallions and ignudi

• All was inspired by Michelangelo• Looks like Raphael



Aurora• 1615, Guido Reni, Rome• He studied briefly at the Acarracci academy• This work decorated the ceiling at Palazzo Rospigliosi-Palavacini• It emulates the illusionistic framed mythological scenes on the Farnese ceiling• Apollo is shown driving the sun chariot, escorted by Cupid and the Seasons, led by the

flying figure of Aurora, goddess of the dawn• Idealized forms, seem to have been derived from an antique relief• Harmonious rhythms of gesture and drapery and intense color



Triumph of the Name of Jesus• 1672-1685, Giovanni Battista Gaulli, • Student of Bernini - absorbed his taste

for drama and multimedia effets• Viewer meant to be swept up in drama• Fills the vault of Il Gesu• Combines sculpture and painting to

eliminate the presence of architecture• The whole composition is focused off-

center on the letter IHS the monogram of Jesus and the insignia of the Jesuits

• The subject is the Last JudgmentQuickTime™ and a

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David• C. 1623, Gianlorenzo Bernini, life size• Made for a nephew of Pope Paul V• It introduced a new type of 3D

composition that intrudes on the viewer’s space

• The figure is ready to launch the lethal rock

• It is all tension and determination• Energetic, twisting figure includes the

surrounding space as part of the composition by implying the presence of an unseen adversary

• New immediacy and inclusion in art• Bernini becomes the sculptor for the

pope



Baldacchino• 1624-33, Bernini, St. Peter’s• Commissioned by Pope Urban VIII• This work exemplifies the Baroque

artists’ desire to combine architecture and sculpture so that works no longer fit into a single category or medium

• The twisted columns symbolize the union of Old and New Testaments

• Composite columns were used• The cast bronze looks like fabric• Many symbolic elements mark the site

of the tomb of St. Peter and serve as a monument to Urban VIII and his family, the Barberini



The Ecstasy of St. Theresa of Avila• C. 1645-52, Bernini, life size• This work was for the decoration of the

chapel of the Cornaro family in the Church of Santa Maria della Vittoria

• Theatrical setting for a scene depicting Teresa’s vision of the angel of the Lord

• The Cornaro family kneels on either side of the piece

• Represents a vision described by the Spanish mystic in which an angel pierced her body, transporting her to a state of religious ecstasy

• Complex theatrical interplay of various levels of illusion

• Invites the viewer to identify with Teresa’s emotion

• Skilled at capturing different textures in marble



Fountain of the Four Rivers• 1648-51, Bernini, marble, Rome• The Piazzo Navona was under the

influence of Pope Innocent X and his family

• Bernini eventually got the commission of the new fountain

• In the center is a rocky hill covered with vegetation and animals

• 4 great rivers of the world flow out, each representing a continent and personified by a colossal figure

• Roman imitation of an Egyptian obelisk, topped by a dove (emblem of Pope’s fam.)

• The obelisk was a technical marvel



Façade of S. Carlo alle Quattro Fontane• 1665, Francesco Borromini, Rome• Built by the Trinitarian monks who hired

Borromini• He worked under Bernini• This was his 1st independent

commission• Elongated central plain• Worked from an overriding geometric

scheme, the ideal, domed, central-plan church

• The front was an undulating, sculpture-filled screen

• Punctuated with large columns and deep niches that create dramatic effects of light and shadow

• a giant cartouche is held up by angels



Colonnade of St. Peter’s • 1657, Bernini, Rome• His design frames the 2 enormous

curved porticoes or covered walkways supported by doric columns

• Bernini spoke about them as representing the “motherly arms of the Church” reaching out to the world



St. Serapion• 1628, Francisco de Zurburan• Horrifying depiction of martyrdom• Represented with understated control• Worked in Seville• Closely associated with monastic orders• Serapion was a member of the 13th

century Mercedarians, a Spanish order founded to rescue the Christian prisoners of the Spanish Moors

• He sacrificed himself in exchange for Christian captives

• Intense realism• Silent and drained of color• Embodies Spanish art



Water Carrier of Seville• C. 1619, Diego Velazquez• Came from the Caravaggesque school

of Seville• Entered Seville’s painters’ guild• Influenced by tenebrism and naturalism• The model in this work was a well-

known Sevillian water seller• He arranged the elements with almost

mathematical rigor• skilled at rendering sculptural volumes

and contrasting textures illuminated by dramatic light



The Surrender at Breda• C. 1635, Velazquez• He moved to Madrid and became the

court painter to King Philip IV• He was profoundly influenced by Italian

painting• He treated the theme of triumph and

conquest in an entirely new way, unlike traditional gloating military propaganda

• The duke of Alba, the Spanish governor, had defeated the Dutch at Breda

• The Dutch commander, Justin of Nassau, hands over the keys of Breda to the Spanish commander Ambrosio Spinola

• Represents a courtly ideal of gentlemanly conduct

• Displays his ability to arrange a large number of figures into an effective narrative composition

• Great realism• Quick movement of painting• Suggests spontaneity of light



The Maids of Honor (Las Meninas)• 1656, Velazquez• Huge work - nearly 10 ft. tall• Draw the viewer directly into its action• Viewer standing in the space occupied

by King Philip and his queen• The central focus is on the couple’s 5

year old daughter, the infanta (princess) Margarita

• He used a minimum of underdrawing• Built up his forms with layers of loosely

applied paint• Technique captures appearance of light

on surfaces• He proclaimed the dignity and

importance of painting as one of the liberal arts - shown by his own portrait in this work



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Ap art history term 2 test 3