Art History II Exam 2 B

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    David, Andrea del Verrocchio, Early Italian Renaissance, 1400 - 1495

    • Made for Medici family to replace Donatello's statue due to how provocative it was. 
    • Similarities: Contrapposto, adolescent and feminine boy, exact same moment, approximately lifesized, cast bronze, on guard. 
    • Differences: Lack of nudity, no more hat (symbol of peace with laurel leaves), Goliath's head is not being stepped on and he is not wearing a helmet. Head = separate casting, May have been further off to the side and may explain more dramatic head turn.
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    Equestrian Monument of Erasmo Da Narni (Gattamelata), Donatello, Early Italian Renaissance, 1400 - 1495

    • Northern Italy Padua commission
    • University town --> Arena Chapel by Giotto
    • Earliest cast bronze equestrian monument
    • Subject = not ruler, but a professional soldier and commander of Venetian army.
    • Widow and son commissioned monument to honor him and it was placed in the center of town in front of the church, which is dedicated to St. Anthony of Padua 
    • Inspired by Statue of Marcus Aurelius
  3. Condottieri
    Commanders (military leaders) for hire
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    Dome of Florence Cathedral, Brunelleschi, Early Italian Renaissance, 1400 - 1495

    • Familiar with the Pantheon.
    • Cathedral of Florence calls for architect to design and build the biggest dome on earth.
    • The lower part of the dome is the basic foundation of whole support system. 
    • Double-shelled dome: one dome inside another dome.
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    Foundling Hospital, Brunelleschi, Early Italian Renaissance, 1400 - 1495

    • Paid for by silk manufacturers and goldsmith guilt.
    • Felt need that orphans should be cared for and could be dropped off anonymously.
    • Rather than Gothic vertical style, the emphasis has become horizontal.
    • Corinthian style columns  
    • Pendentive triangular units that come out of square help support structure.
  6. Loggia
    A gallery or room with one or more open sides, like a garden.
  7. Pediment
    The triangular upper part of the front of a building in classical style, typically surmounting a portico of columns.
  8. Pendentive
    A curved triangle of vaulting formed by the intersection of a dome with its supporting arches.
  9. Corinthian Columns
    The capital, or top, of a Corinthian column has lavish ornaments carved to resemble leaves and flowers.
  10. Entablature
    A horizontal, continuous lintel on a classical building supported by columns or a wall, comprising the architrave, frieze, and cornice.
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    San Lorenzo, Brunelleschi, Early Italian Renaissance, 1400 - 1495 

    • Entablature, pendentives
    • limited people could use library due to illiteracy 
    • Donatello buried in this church
    • Natural clear white light and not stained glass windows
    • Flat ceiling with coffers (Ancient Roman) 
    • Large arch frames where alter is located. 
    • Reacting to early Christian church architecture and Gothic architecture.
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    Palazzo Medici-Riccardi, Michelozzo, Early Italian Renaissance, 1400 - 1495

    • 3-story, free-standing home and office, business, and home. 
    • Coat of arms has balls
    • Interior courtyard for added security 
    • Riccardi family = last family to have the house
    • 1st floor area were offices
    • Upper areas were private areas
  13. Palazzo
    A city home
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    Palazzo Rucellai, Alberti, Early Italian Renaissance, 1400 - 1495

    • Doric, Ionic and Corinthian pillars and columns
    • Medici wannabes
  15. Alberti's On Painting 
    Principles of linear one point perspecitve that was previously inaccessible to to common people or artists
  16. Alberti's On Sculpture 
    Harks on classical design
  17. Alberti's On Architecture 
    Urged architects to consider design for sturdiness, functional properties, and to provide visual delight.
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    Virgin and Child, Masaccio, Early Italian Renaissance, 1400 - 1495

    • Big deal
    • Background similar to Giotto -- > gold background 
    • Two angels in foreground
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    Trinity with Virgin, St. John the Evangelist, and Donors, Masaccio, Early Italian Renaissance, 1400 - 1495

    • Funeral grave piece
    • Subject is unknown, perhaps a Jesus sculpture.
Card Set
Art History II Exam 2 B
Art History