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Two Figures
- Drawing
- 1487-89
- Florence
- Ghirlandaio
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St. Peter (From Tribute Money)
- Drawing
- 1487-89
- Florence
- Ghirlandaio
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Madonna of the Steps
- Squashed relief
- 1490-92
- Florence
- Bertoldo di Giovanni
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Battle of the Centaurs
- High relief
- 1492
- Florence
- Lorenzo de Medici
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Madonna and Child (Manchester Madonna)
- Unfinished painting
- 1488-94
- Florence
- Medici or Ghirlandaio
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St Petronio
- Marble statue for Shrine of San Domenico
- 1495
- Bologna
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Sleeping Cupid
- Statue
- 1496
- Florence; sold in Rome
- Bought by Rhiario
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Bacchus
- Marble statue
- 1496-7
- Rome
- Commissioned by Rhiario, bought by Galli
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Roman Pieta
- Marble statue
- 1498-99
- Rome
- French Cardinal Jean Villiers de Fezenzac
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Entombment of Christ
- Panel painting
- ca. 1500-01
- Rome
- Bishop Giovanni Ebu's tomb
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David
- Marble statue
- 1501-04
- Florence
- Operai del Duomo
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Studies for marble and bronze David
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David (2)
- Bronze statue
- Cast in 1508
- Florence
- Council of Florence, sent as a gift to France
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Taddei Tondo
- Round marble relief
- 1503-05
- Florence
- Taddeo Taddei
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Pitti Tondo
- Round marble relief
- 1503-05
- Florence
- Bartolommeo Pitti
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Battle of Cascina
- Drawing/modello, template for giant fresco
- 1504-05
- Florence
- Pietro Soderini/Florentine Republic
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Bruges Madonna
- Marble statue group
- 1503-06
- Florence
- Alexandre Mouscron
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St. Matthew (one of the 12 apostles)
- Unfinished statue
- 1504-08
- Florence
- Operai del Duomo
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Doni Tondo
- Panel painting
- 1506
- Florence
- Angelo Doni and his wife Maddalena
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Moses in Julius' tomb
- Marble
- 1513-16
- Rome
- Pope Julius II
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Leah in Julius' tomb
- Marble
- 1542-45
- Rome
- Pope Julius II
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Rachel in Julius' tomb
- Marble
- 1542-45
- Rome
- Pope Julius II
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Sistine Chapel
- Fresco
- 1508-12
- Rome
- Pope Julius II
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Pope Leo X's family name was ______________ of _______
Was Pope from _________
Commissioned _____(1)______
Relations with MB: (2)
- Giovanni de Medici
- Florence
- 1513-1521
- San Lorenzo facade, which was never completed
- Childhood classmates, but argued over marble
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Pope Clement VII's family name was _______ of _____
Was Pope from _________
Commissioned: ___(3)___
Relations with MB: _______
- Giulio de Medici, Florence
- 1523-1534
- Commissioned Medici Chapel, San Lorenzo library, Last Judgment
- MB's greatest patron, protector, and childhood friend
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Pope Paul III's family name was ________ of ________
Was Pope from __________
Commissioned: (3)
Relations with MB: ________
- Alessandro Farnese, Camino (Rome)
- 1534-1539
- Renewed commission of Last Judgment, Pauline Chapel frescoes, St. Peter's
- Supported MB during the backlash of Last Judgment
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Pope Paul IV's family name was ________ of _______
Was Pope from ________
Commissioned:
Relations with MB
- Giovanni Pietro Caraffa, Capriglo
- 1555-1559
- --
- Also supported MB during backlash of Last Judgment
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Pope Pius IV's family name was _______ of ________
Was Pope from ________
Commissioned:
Relations with MB:
- Giovanni Angelo de Medici, Milan
- 1559-1565
- --
- --
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Important points of the Sistine Ceiling ancestors (6)
- Painted in the lunettes, the darkest areas of the ceiling
- Ramping penetration connects the wall and ceiling both literally and symbolically, Christ's ancestors connect God and the Popes
- Figures are depicted as family groups of different ages and genders, not just as old men, unprecedented technique
- Uses color to illuminate figures, acknowledging their dark location with bright, bold hues
- Invented clothing that was not necessarily accurate
- Emphasis on loins and procreation
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Important points of the Sistine Ceiling's Prophets and Sibyls (4)
- Hold up the vault, metaphor for their role as foundational beings
- Occupy the lightest areas of the ceiling, indicating their knowledge
- Figures are conventionalized, holding books or scrolls as symbols of Christian or Hebrew knowledge, accompanied by angels
- Figures get much larger as you move from the entrance to the altar wall, balancing out the reduced cast of characters in the adjacent narrative scenes
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Important points of the Sistine Ceiling's Separation of Light and Darkness narrative scene (3)
- One side of God is light, the other is dark
- Appears to be floating in a void, unstable
- God has outline of breasts, MB may be playing with the idea that god creates man and woman "out of his own likeness"
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Important points of Congregation of the Waters (2)
- Horizontality
- Outline of breasts
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Important points of Creation of Sun, Moon, and Plants (3)
- God's arms are in the compass-like position used to create a circular world
- God's actions follow circular pattern, shown flying toward the plants at the bottom left in a circular route
- MB shows that motion, time, and growth have now entered the story
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Important points of Creation of Adam (6)
- Adam is seated in a "river god" pose, common in antiquity, actively inativated
- If God's finger follows the circular pattern, it ends up at woman under his arm, possibly Eve
- Adam's knee pointed toward the woman may be another allusion to Eve
- God touches child with his other hand's two fingers, may be Jesus
- God still has breasts and cinched waist
- Dark angels may represent those that rebelled against God and prompted the creation of Man
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Important points of Creation of Eve (6)
- Eve represents both scripture stories by masking exactly where she is emerging from
- Adam sleeps, indicating his prophetic status
- God is the only one standing upright, barely fits in the frame
- Eve is created by command, no physical contact
- God no longer has breast outline, "likeness" has been expressed
- Eve is both getting up and bending down, in prayer
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Important points of Temptation and Expulsion (4)
- In Temptation, Eve reaches for fruit with twisted torso, and Adam is just as guilty, not "seduced by Eve" as is commonly portrayed
- Eve points to between her legs, indicating the consequence of sin, which is childbirth
- In Expulsion, Eve has aged, Adam is crying and fighting off the angel
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Important points of Moses from the Julius Tomb (8)
- Only figure we know of that was planned from the beginning
- Seated with tablets of law pressed next to him hold him up, like the sling of David--almost part of his body, not held in his hand
- Both hands hold his beard
- Hand rested on tablet is in gesture of blessing or speech
- Furrowed brow, exagerrated eye sockets
- Horns depict old connection between horn and light (same word in Hebrew), was said to come down from Mt Sinai "horned"
- One side closed and flat, the other active and open
- Leans forward with elongated torso to meet the viewer's sightline, indicates he was meant to go on the second story of the tomb
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Important points of Leah and Rachel of the Julius Tomb (3)
- Sisters who became symbols of the active and contemplative life
- Leah has bunched drapery around her womb, active
- Rachel's hands clasped in common prayer pose, swaying back and forth
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Important points of the Louvre slaves (4)
- 1513-1516
- Incomplete, not included in the tomb
- Shows MB's technique
- Look as if they are lying down, but seen upright
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Important points of the Florentine slaves (4)
- 1519-1534
- Never installed in the tomb
- Some look as if they were meant to be attached somewhere between lower and upper stories
- Only finished one was the "Victory" figure
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Important points of Risen Christ (5)
- Commissioned 1514 by 3 Roman gentlemen for a church altar, still in Rome
- Abandoned by MB when he found a black vein in the marble
- Started a new one 1518-19, completed by his assistant Pietro Urbano
- Unusual to show full frontally nude Christ as an adult
- Ambiguous whether cross holds Christ up, or Christ holds the cross up, but active front foot and planted back foot indicate cross is doing the work
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Important points of the Medici Chapel in San Lorenzo (6)
- 1519-1534, Florence
- MB designed chapel architecture and tombs
- Chapel design based on Brunelleschi's Old Sacristy
- Commissioned by Pope Clement VII
- Tomb statues were continued until MB left Florence for good in 1534, finished and installed by Vasari
- Tombs of Giuliano and Lorenzo were symbols of the active and contemplative life
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Important points of Giuliano's tomb statue (5)
- Active life
- Legs apart, activated, ready to rise
- Hands on baton symbolize rulership
- Coins in hand symbolize distribution of wealth, leadership
- Accompanied by Day and Night statues
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Important points of Lorenzo's tomb statue (4)
- Contemplative life
- One arm turned out, inactivated, the other in a thinking pose
- Legs leaned back into the niche, elbow leans on coin box, actively inactivated
- Accompanied by Dawn and Dusk statues, which are "times of contemplation"
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Dawn and Dusk statues
- Depict individuals around MB's age at the time he made them, rather than at their youthful peak
- Both lying down with heads back, chests open, same arm positions
- Dawn is in the process of removing her veil ("night"), raising herself in half-dreamy state
- Dusk is in the process of settling down, leaned back, about to cover himself with night
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Day and Night statues (4)
- Day opens himself up, but still shielded from view
- Night is exposed, but in the process of closing herself up
- Night has "nursing breasts," as night was a time of nursing
- Opposite positions of their Dusk and Dawn counterparts
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Important points of Medici Madonna (6)
- 1521-1534, Florence
- Not certain of where it was meant to go, but Vasari intalled it in the Medici Chapel with the tombs
- Not entirely finished
- Madonna's legs crossed in "rude" gesture
- Madonna rotates her body to the left, while Jesus darts in the opposite direction
- Jesus's arms are crossed, one hand reaches for her breast, the other on her shoulder, indicates the dual relationship of mother/son and husband/wife
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Important points of Laurentian Library (5)
- 1521-1534, Florence
- MB designed architecture of reading room and vestibule
- Commissioned by Pope Clement VII
- MB left the project behind when he left Florence for good in 1534
- Designed staircase in 1533
- Vestibule completed under MB's supervision via instructions and a model in 1558
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- Awakening slave
- Florentine
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- Tomb of Giuliano de Medici
- Day and Night statues
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- Tomb of Lorenzo de Medici
- Dawn and Dusk statues
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Vestibule and staircase of San Lorenzo (Laurentian) Library
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Reading room of Laurentian library
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- Venus and Cupid, painted by Pontormo from a cartoon by MB
- 1532-1534, Florence
- Commissioned by Bettini
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- Pieta for Vittoria Colonna
- 1546, Rome
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- Crucifixion for Vittoria Colonna
- 1539, Rome
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- Piazza del Campidoglio
- 1537-1555, Rome
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- Conversion of St Paul
- 1542-1545, Fresco for Pauline Chapel, Commissioned by Pope Paul III
- Vatican Palace, Rome
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- Crucifixion of St Peter
- 1546-1550
- Fresco for Pauline Chapel, commissioned by Pope Paul III
- Vatican Palace, Rome
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- Florentine Pieta
- 1547-1555, Rome
- Made on MB's own initiative, but was abandoned due to MB's frustration
- May have been meant for his own tomb
- Now in Florence
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- Dome of St. Peter's Basilica
- 1546-1564, Rome
- Commissioned by Pope Paul III and successors
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- Rondanini Pieta
- 1555-1564
- Rome
- MB's own initiative
- Unifinished, last work before MB's death
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- Ganymede cartoon for Cavalieri
- 1532, Florence
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- Cartoon of Tityus for Cavalieri
- Florence, 1532
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Last Judgment commissioned by _______
Date
Location
- Pope Clement VII and Pope Paul III
- 1534-1541, Rome
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Important points of MB's Last Judgment Overview (5)
- Began and completed at two very different periods of religious history
- Nudity was condemned and covered up
- Impossible to count the number of figures
- Figures are all different sizes
- Different from prior last judgment scenes in its lack of clear "judgment" action, groups of people formed on their own volition, asymmetrical layout, and outnumbering of Hell-bound people by more Heaven-bound
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Important points of Jesus in the Last Judgment (5)
- Hands are ambiguous in their gesture, not clearly judging
- Not sure if he is sitting or standing
- Accompanied by Mary, they are surrounded by intimate "inner circle" that includes John the Baptist staring at him and St. Peter (who also symbolizes Moses with his horns of hair)
- Hairstyle represents Jesus as like "the sun,"/Apollo
- Represents the 2nd coming of Jesus, establishing eternity
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Donato Bramante (3)
- Knew MB in the 1500s until death, in Rome
- Always at odds with each other, rivals
- MB felt Bramante "wronged" him several times regarding the Sistine Chapel and Julius's tomb
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Sebastiano Luciano del Piombo (2)
- Knew MB in Rome during the 1530s
- Had a falling out with MB over what type of paint to use for the Last Judgment that never got resolved
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Jacopo Pontormo (2)
- Knew MB in the early 1500s on, in Rome
- Praised by MB in his youth, made a portrait of MB later on, collaborated on the Venus and Cupid
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Antonio Mini (2)
- 1523-1531, Florence
- MB's pupil and assitant who completed many of his works and made copies
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Tommaso de Cavalieri (2)
- Knew MB from 1532 until MB's death
- Closest friend and object of MB's love, to whom MB sent many poems and drawings, devoted to MB until his death
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Vittoria Colonna (3)
- Knew MB from 1536 until her death in 1547 in Rome
- MB's close friend and spiritual mentor who introduced him to spiritual reformers
- Exchanged poetry and MB sent her drawings
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Marcello Venusti (3)
- Knew MB in Rome
- Colleague and copyist of MB
- Made a full-scale copy of Last Judgment before the nudity was painted over
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