Andrea del Verrocchio, Funeral Monument of NiccoloForteguerri, (left) terracotta bozzetto; right finished monument
with marble relief figures by Verrocchio, 1481-88
Sacra conversazione – “holy conversation;” used to refer
to a type of altarpiece in which saints and or prophets are grouped around the Virgin and Child.
Colori cangianti - “changing colors”; a painting technique that depicts shadow by changing color (hue), instead of changing intensity of hue by adding white or black.
Figura serpentinata –”Serpentine figure;” a representation of human figure in spiraled or torsionedpose to suggest movement.
Terms
Michelangelo, Doni Tondo, oil and tempera / panel, 1505, Florence, Uffizi
Comissioned by Angelo Doni, on the occasion of his marriage to MaddalenaStrozzi
Frame is original
Domenico Ghirlandaio, Massacre of the Innocents, fresco, 1485-90, Sta. Maria Novella, Capella
Maggiore
Battle of Cascina, copy (ca. 1542) of lost cartoon by Michelangelo created ca. 1504, Norfolk, UK, Holkam
Hall
Pietro Perugino, Pieta, oil/panel, ca. 1495, Florence, Uffizi
Commissioned for the convent church of San Giusto alle Mura
Figures (l-r): Nicodemus, St. John the Evangelist, Christ, Virgin Mary, St. Mary Magdalen, Joseph of Arimathea
Leonardo da Vinci, Madonna and Child with Sts. Anne and John the Baptist, charcoal, black & white chalk on paper, 1505/07, London, National Gallery
Leonardo da Vinci, Mona Lisa, oil/panel, begun 1503
Elizabetta Gherardini, wife of Francesco del Giocondo
Sfumato – Italian for “smoked;” oil painting technique blending tones within a hue or between two hues to produce a softening of forms .
Contre-jour: optical/photographic effect when an object is seen in front of a lighted source; surface details are less visible, and the contrast between object and background is greater.
Raphael, Madonna of the Goldfinch, oil/panel, ca. 1505, Florence, Uffizi
Commissioned by Lorenzo Nasi
Prolepsis (proleptic): representation of an action or object before it exists
Andrea del Sarto, Madonna of the Harpies, oil/panel, 1515-17, Florence, Uffizi
Painted for the convent church of San Francesco deiMacci
Immaculate Conception: the Catholic theological concept, promoted by the Franciscan order (became doctrine in 1858) that the Virgin Mary was without original sin
Rosso Fiorentino, Assumption of the Virgin, fresco, 1517, Florence, SantissimaAnnunziata, Chiostro dei Voti
Donatello, Pulpits, bronze, cast ca. 1466-70, installed in present form ca. 1558, San Lorenzo, Florence
Rosso Fiorentino, Moses Defending the Daughters of Jethro, oil/panel, 1523, Florence, Uffizi
Commissioned by Giovanni Bandini, never delivered
Jacopo Pontormo, Entombment, oil/panel, 1526-28, Florence, Sta. Trinita, CapponiChapel
Commissioned by Ludovico Capponi for his family burial chapel