chapter 16 study guide (artforms)
TRANSCRIPT
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STUDY GUIDE CHAPTER 16
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MASACCIO, Holy Trinity.
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Donatello. MARY MAGDALEN.
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DONATELLO, David.
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SANDRO BOTTICELLI, Birth of Venus.
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LEONARDO DA VINCI, Last Supper.
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LEONARDO DA VINCI, Mona Lisa,
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MICHELANGELO BUONARROTI, David.
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MICHELANGELO BUONARROTI, The Creation of Adam.
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PAOLO VERONESE, Christ in the House of Levi.
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JAN VAN EYCK, Giovanni Arnolfini and His
Bride.
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PIETER BRUEGEL THE ELDER, Hunters in the Snow.
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GIANLORENZO BERNINI, David.
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GIANLORENZO BERNINI, Ecstasy of Saint
Teresa.
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CARAVAGGIO, Conversion of Saint Paul,
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DIEGO VELÁZQUEZ, Las Meninas
(The Maids of Honor).
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PETER PAUL RUBENS, Elevation of the Cross.
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REMBRANDT VAN RIJN, Return of the
Prodigal Son.
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JAN VERMEER, The Kitchen Maid
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JEAN-HONORÉ FRAGONARD, The
Swing.
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Humanism
• A cultural and intellectual movement during the
Renaissance, following the rediscovery of the art and
literature of ancient Greece and Rome. A philosophy or
attitude concerned with the interests, achievements, and
capabilities of human beings rather than with the
abstract concepts and problems of theology and science.
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HUMANISM a Focus on Human Beings:
• Education that perfected humans through the
study of past models of civic and personal virtue.
• Value system that emphasized personal effort
and responsibility.
• Physically and intellectually active life that was
directed at a common good as well as individual
nobility .
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Renaissance
• Period in Europe from the late fourteenth
through the sixteenth centuries, which was
characterized by a renewed interest in human-
centered classical art, literature, and learning.
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Fresco
• A method of wall-painting on a plasterground.
Buon fresco, or true fresco, was much used in
Italy from the thirteenth to the sixteenth
centuries.
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Chiaroscuro
• Italian word meaning “light-dark.” The gradations
of light and dark values in two-dimensional
imagery; especially the illusion of rounded,
three-dimensional form created through
gradations of light and shade rather than line.
Highly developed by Renaissance painters.
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NeoplatonismEmbraced by the powerful Medici family.
All sources of inspiration, whether Biblical or Classical (Pagan)
mythology, represent a means of ascending earthly existence to a
mystical union with “the One”.
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Memento Mori
• A visual reminder of human mortality.
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Camera Obscura
• A technical aid, widelv used in the seventeenth
and eighteenth centuries, which consisted of a
darkened box or tent containing lenses and a
mirror. The artist could project the image of an
object or landscape onto the oil painting surface
and then trace it out in charcoal or graphite.
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sfumato
A painting technique using an imperceptable,
subtle transition from light to dark, without any
clear break or line. The theory was developed
and mastered by Leonardo da Vinci, and the
term derives from the Italian word fumo,
meaning vapor, or smoke.
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Pieta
• Works in which the Virgin is supporting and
mourning the death of Jesus.
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David
• Carved from an abandoned eighteen foot block
or marble.
• Symbol of freedom from tyranny for Florence
which had just become a Republic.
• Career making piece for a 26 year old
Michelangelo.
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Venetian School
• In the sixteenth century, artists such as
Giorgione and Titian preferred a gentler, more
sensuous approach to oil painting than had been
adopted by the Florentine School . The
Venetians used warm atmospheric tones.
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Mannerism
• A style that developed in the sixteenth century
as a reaction to the classical rationality and
balanced harmony of the high Renaissance;
characterized by dramatic use of space and
light; exaggerated color, elongation of figures,
and distortions of perspective, scale, and
proportion.
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• Northern European artists concerned with
depicting life in the real world.
• Artists like Jan van Eyck used linseed oil paint to
achieve a brilliance and transparency of color
that were previously unattainable.
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Glazing
An oil painting technique by which thin,
transparent layers of oil paint are applied
over an opaque layer to modify that layer's
color. It is sometimes difficult to determine
exactly the glazes used by the Old Masters
because of previous restoration or cleaning,
and also because of the similarity between
the appearance of a glazed paint layer and
varnish.
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Altarpieces placed at the front of a church
Series of Wood Panels with religious stories
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Baroque
• The seventeenth-century period in Europe
characterized in the visual arts by dramatic light
and shade, turbulent composition, and
exaggerated expression.
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Protestant Reformation
• By the early 1500s, many people in Western Europe
were growing increasingly dissatisfied with the Christian
Church. Many found the Pope too involved with secular
(worldly) matters, rather than with his flocks spiritual
well-being. Lower church officials were poorly educated
and broke vows by living richly and keeping mistresses.
Some officials practiced simony, or passing down their
title as priest or bishop to their illegitimate sons. In
keeping with the many social changes of the
Renaissance people began to boldly challenge the
authority of the Christian Church.
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The Counter Reformation
• Attempts by the Catholic
church and secular Catholic
authorities to stem the flow
of Protestantism and reform
some of the worst excesses
of medieval Catholicism.
• Art was used as a tool of
persuasion.
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Tenebrism
• From the Italian tenebroso ("murky"),
(also called dramatic illumination) is a
style of painting using very pronounced
chiaroscuro, where there are violent
contrasts of light and dark, and darkness
becomes a dominating feature of the
image. Spanish painters in the early
seventeenth century who were
influenced by the work of Caravaggio
have been called Tenebrists, although
they did not form a distinct group.
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Rococo
• From the French “rocaille” meaning “rock work.”
This late Baroque style used in interior
decoration and painting was characteristically
playful, pretty, romantic, and visually loose or
soft; it used small scale and ornate decoration,
pastel colors, and asymmetrical arrangement of
curves. Rococo was popular in France and
southern Germany in the eighteenth century.
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Fete Galante
• A term first used in. the
eighteenth centurv to
describe an oil painting of a
dreamlike pastoral setting
which shows people, often in
extravagant costume,
amusing themselves with
dancing, music-making and
courtship. Watteau is
referred to as a painter of
'fetes galantes'.
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Contrapossto
• Italian for “counterpose.” The counterpositioning
of parts of the human figure about a central
vertical axis, as when the weight is placed on
one foot causing the hip and shoulder lines to
counter balance each other-often in a graceful s-
curve.
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Genre Painting
• A term used to loosely categorize paintings
depicting scenes of everyday life, including
domestic interiors, merry companies, inn
scenes, and street scenes.
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Giotto
• Feelings and physical nature
of human beings
• New sense of realism by
using light and space
• Re-inventor of “naturalistic”
painting
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Massaccio
• Used perspective to
construct an illusion of
figures in three-dimensional
space.
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Donatello
• Incorporates Greek idealism
into Christian context.
• Goes beyond Classical
Idealism by incorporating the
dimension of personal
expression.
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The Achievements of the Masters
• Leonardo da Vinci: superb master of line, pioneer
of sfumato, inventor, naturalist, and painter of the
soul’s intent.
• Raffaelo Sanzio(a.k.a Raphael): younger master
painter who incorporated elements of Leonardo and
Michelangelo in to his own unique style.
• Michelangelo Buonarroti: master of sculpture, also
excellent painter and architect, the man in demand.
• Venetian masters
– Bellini, Giorgione, Titian
– Palladio (architecture)
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Leonard Da Vinci
• Motivated by intense
curiosity and a optimistic
belief in the human ability to
understand the world.
• Art and science are two
means to the same end:
knowledge.
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Michelangelo
Human beings are
unique, almost godlike.
In an artists hands, “life”
could be created through
inspiration from God.
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