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BONAVENTURA BERLINGHIERI, panel from the Saint Francis Altarpiece, 1235.
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CIMABUE, Madonna Enthroned with Angels and Prophets, 1280–1290.
- -Byzantine art mainly used for decoration, and utilized it to create the folds in Mary’s robes, giving her a more fleshed out and humanistic figure.
- -giving it a more realistic three-dimensional feel by receding into space.
- -proto- renaissance
- -when mary would stand up she would be larger than anyone in that painting.
- -the size of jesus right but his features don't look baby like, he looks more of having grown up features.
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GIOTTO DI BONDONE, Madonna Enthroned, 1310.
- -striking realism and utter humanity.-throne is expensive looking
- -everyone is stacked so it gives a illusion of depth
- -mary is over sized compared to everyone else making her the important person in the piece.
- -there is more attention to detail with clothing folds making it the illusion of space
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GIOTTO DI BONDONE, Lamentation, Arena Chapel, ca. 1305
- - landscape moves our eyes down to mary and christ.- there is a movement with mary as you can feel the emotion of what she is going through.
- - medievial
- - the two people that have their backs toward us draws our eye in the direction they are looking at which is to christ.
- - bright colors on the people and angels making it seem to be more grounded and materialistic
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ARNOLFO DI CAMBIO and others, Florence Cathedral (aerial view looking northeast), Florence, Italy, begun 1296.
- -translated their pride in their predominance into landmark buildings
- -florence cathedral, recognized as the center for the most important religious observances.
- -the church was intended to be the most beautiful and honorable church
- - in a way the big dome remindes me of a crown, as there was nothing like it at the time it was seen as the top of the line and holy ground as it was that great.
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JAN VAN EYCK, Giovanni Arnolfini and His Bride, 1434.
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JAN VAN EYCK, Man in a Red Turban, 1433.
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FILIPPO BRUNELLESCHI, Sacrifice of Isaac, 1401–1402.
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FILIPPO BRUNELLESCHI, Sacrifice of Isaac, 1401–1402.
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SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486.
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LEONARDO DA VINCI, Madonna of the Rocks, 1483.
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LEONARDO DA VINCI, The Last Supper, 1495-1498.
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LEONARDO DA VINCI, Mona Lisa, 1503-1505.
- -hermafidite look
- - pose shows a safitsicated sataus
- - nature is a important feature becasue it takes the whole background
- - looks very alluring
- - repreents nature as a artisicratic way
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RAPHAEL, School of Athens, 1509-1511.
- - high reinssance
- - geometric shapes through the piece
- -applo and athenia are the statues on the sides that represent the arts and knoledge.
- -there are many figures there and it's like a celabration for them as they are the greats that inspire the renisance.
- - everyone has a idividual stance which makes it normal and natural movement.
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MICHELANGELO BUONARROTI, Pieta, ca. 1498-1500.
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MICHELANGELO BUONARROTI, David, 1501–1504.
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MICHELANGELO BUONARROTI, Interior of the Sistine Chapel, 1473.
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MICHELANGELO BUONARROTI, Creation of Adam detail of the ceiling (FIG. 22-1) of the Sistine Chapel, 1511–1512.
- - not a bibical refrence in the story
- - god looks more like zeus
- - the circle god is combing from reminds me of the womb and nature
- - the fingers that are about to touch makes me feel that it is about contact and the flesh that is being contacted with
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GIORGIONE DA CASTELFRANCO (and/or TITIAN?), Pastoral Symphony, ca. 1508–1510.
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TITIAN, Madonna of the Pesaro Family, 1519-1526, Venetian.
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