1. Art History Test Review: Italo-byzanatine & Renaissance

2. Characteristics of (Early) Renaissance Painting: Orderly & Symmetrical Compositions ( Look for the ubiquitous triangle.... circles and squares.) Emphasis on the Human Figure Classical References (look for classical architectural motifs and also Greek / Roman mythological imagery.) Use of Linear (scientific) Perspective (…with vanishing points often located in the center of the painting.)

3. Duccio Maesta’ 13’ x 7’ 1308 - 11 Museum of the Duomo, Sienna

4. Simone Martini The Annunciation 10’ x 9.5’ c. 1333 The Uffizi

6. Luca della Robbia (1400 – 1482) Modona and Child c. 1430

7. Donatello David Museo del Bargello Florence, Italy, c. 1430 (about 5’ 2”) and now for something totally shocking:

8. Lorenzo Ghiberti The New East Doors (Gates of Paradise) Baptistery, Florence Cathedral c. 1425 - 1452

9. Masaccio The Holy Trinity Sta. Maria Novella, Florence, Italy c. 1423

10. Masaccio, The Tribute Money (Brancacci Chapel)

11. Andrea Mantegna Ceiling oculus from the Palazzo Ducale Mantua, Italy c. 1474

13. Botticelli, Birth of Venus The Uffizi, Florence, Italy c. 1482

15. Characteristics of Northern Renaissance Painting: Highly Realistic ( total attention paid to the natural world…very little abstraction or distortion.) Un-idealized Figures (as opposed to classicized, idealized figures) Extremely Detailed (painters paid exquisite attention to the smallest details of the man-made and natural world.) Use of Symbolism (objects often have hidden/double meaning) Printmaking emerges as a major art medium Genre & landscape painting emerges ( everyday folks doing everyday things) Capitalism & Art ( just like peanut butter and jelly) Light ( often subtle, natural, directional, diffused and usually entering from a window.....mostly on the left as we view the paintings.)

16. Jan Van Eyck The Arnolfini Wedding 33” x 21’’ oil on panel The National Gallery, London c. 1434

18. Matthias Grünewald 1480 - 1528 The Isenheim Altarpiece c.1510 - 1515 Detail of the Isenheim Altarpiece: Torment of St. Anthony

19. Bosch, The Garden of Earthly Delights, The Prado, Madrid, c. 1505

20. Portrait of Henry VIII Oil on panel National Gallery, Rome c. 1540 Hans Holbein (The Younger)

21. Hans Holbein (The Younger) The French Ambassadors Oil on panel National Gallery, London c. 1533

22. Albrecht Dürer 1471 - 1528 Self Portrait At age 29 Munich, Germany c. 1500

23. Albrecht Dürer Painting of a Young Hare Watercolor Vienna, Austria 1502 (about 13’’ x 15”)

24. Albrecht Dürer Four Horsemen of the Apocalypse Woodcut The Met, NYC c. 1497-98 (about 11’’ x 15”)

25. Pieter Bruegel, Peasant Wedding, oil on panel 4’ x 5’, Vienna c 1565

26. Pieter Bruegel, Hunters in the Snow, oil on panel 4’ x 5’, Vienna c. 1565

27. Leonardo Portrait of Lisa Gherardina a.k.a. La Gioconda a.k.a La Joconde a.k.a Mona Lisa (married a silk merchant by the name of Francesco del Giocondo) Oil on panel, 30” x 21” The Louvre, Paris c. 1503-05

28. Sfumato… painting with a hazy, smoky effect

29. Michelangelo David Accademia, Florence, Italy, c. 1504-04

31. Michelangelo Last Judgment Altar fresco Sistine Chapel c. 1534-41

32. Raphael School of Athens Vatican Palace, Rome c. 1509-11

33. Michelozzo Bartolommeo (1396 - 1472) Palazzo Medici-Riccardi c. 1444 Florence, Italy

34. exaggerated cornice stringcourse rustication

35. Alberti Santa Maria Novella (1458 - 1470)

37. Alberti Palazzo Rucellai Florence, Italy 1446

38. Alberti San Andrea Mantua, Italy (1458 - 1470)

39. Bramante Tempietto Rome c. 1502

40. Some Characteristics of Mannerism in Painting: Distorted Human Figures Awkward & Unnatural Human Poses (exaggerated gestures & facial expressions) Confusing Compositions & Irrational Spatial Effects “Acidic” Colors Erotic Imagery

41. Jacopo da Pontormo 1494 - 1557 Descent from the Cross (Deposition) Oil on panel Capponi Chapel, Florence c. 1525-28

42. Parmigianino Madonna with the Long Neck Oil on panel The Uffizi, Florence c. 1535

43. El Greco The Opening of the Fifth Seal of the Apocallypse (Oil on canvas) The Met, NYC c. 1608