Gardner Ch 21

  1. Image Upload 1
    • Ghiberti
    • The Sacrifice of Isaac
    • 1401-02
  2. Image Upload 2
    • Ghiberti
    • The Gates of Paradise
    • East Doors, Florence Baptistry, Florence
    • 1425-52
  3. Image Upload 3
    • linear perspective
    • aerial perspective
    • bronze
    • classical
    • representing 3-D on 2-D
  4. Image Upload 4
    • Brunelleschi
    • Dome of Florence Cathedral
    • 1417-36
  5. Image Upload 5
    • Brunelleschi
    • The Sacrifice of Isaac
    • 1401-1402
  6. Image Upload 6
    • Donatello
    • St. Mark
    • Orsanmichele, Florence
    • 1411-13
  7. Image Upload 7
    • Masaccio
    • The Tribute Money
    • Brancacci chapel, Florence
    • c. 1425
  8. Image Upload 8
    • Masaccio
    • The Holy Trinity
    • Santa Maria Novella, Florence
    • 1428
  9. Image Upload 9
    • Michelozzo di Bartolommeo
    • Palazzo Medici-Riccardi, Florence
    • begun 1444
  10. Image Upload 10
    • Verrocchio
    • Bartolommeo Colleoni
    • c. 1483-88
  11. Image Upload 11
    • Piero della Francesca
    • Battista Sforza and Federico da Montefeltro
    • 1472-73
  12. Image Upload 12
    • Alberti
    • Church of Sant'Andrea, Mantua
    • c. 1470
  13. Image Upload 13
    • Sandro Botticelli
    • The Birth of Venus
    • c. 1482
  14. Linear Perspective
    all parallel lines or surface edges converge on one, two, or 3 vanishing points locagted with reference to the eye level of the viewer and associated objects are rendered smaller the farther from the viewer they are intended to seem.
  15. memento mori
    • Latin: "reminder of death"
    • in painting, a reminder of human mortality, usually represented by a skull
  16. foreshortening
    the use of perspective to represent in art the apparent visual contraction of an object that extends back in space at an angle to the perpendicular plane of sight
  17. giornata
    • Italian: "day"
    • the section of plaster that a fresco painter expects to complete in one session
  18. contrapposto
    the disposition of the human figure in which one part is turned in opposition to another part (usually hips and legs one way, shoulders and chest another), creating a counterpositioning of the body about its central axis. Sometimes called "weight shift" because the weight of the body tends to be thrown to one foot, creating tension on one side and relaxation on the other.
  19. barrel vault
    semicylindrical in cross-section, is in effect a deep arch or an uninterrupted series of arches, one behind the other, over an oblong space.
  20. coffered ceiling
    a sunken panel, often ornamental
  21. chiaroscuro
    in drawing or painting, the treatment and use of light and dark, esp the gradations of light that produce the effect of modeling
  22. Niccolo Macchiavelli
    The Prince 1513
  23. trompe l'oeil
    • French: "fools the eye"
    • a form of illusionistic painting that aims to deceive viewers into believing they ar eseeing real objects rather than a representation of those objects
  24. Pico della Mirandola
    Oration on the Dignity of Man
  25. Humanism
    In the Renaissance an emphasis on education and on expanding knowledge (esp of classical antiquity), the exploration of individual potential and a desire to excel, and a commitment to civic responsibility and moral duty
  26. tempera
    a technique of painting usin gpigment mixed with egg yolk, glue, or casein; also, the medium itself
  27. fresco
    • painting on lime plaster, either dry (fresco secco) or wet (true or buon fresco).
    • Wet: pigments are mixed with water and become chemically bound to the freshly laid lime plaster
Card Set
Gardner Ch 21
Early Italian Renaissance