Newest Assignments and Dates (If assignment is online it shall be stated below)

  • 03-17-2008 - 03-21-2008 -Spring Break (FREEDOM)
  • 03-21-2008 -Art History Outline and images
  • Still during spring break: Read Lord of the Flies for techniques/devices, 3 allusions due.

Monday, February 18, 2008

Art History - Chap 17 - Images

17-1 The Battle of San Romano
-Paolo Uccello, 1430's. Tempera on wood panel, 6' x 10'7"
-It has a more realistic way of creating space and linear perspective that makes things look as if they go into the distance.
-The Medici family commissioned the painting from Paolo Uccello (Paul of the Birds) because the Florentine general was a good friend of the family.
-The peasants in the background ignore the chaos and continue their work
-The orange trees seen in full bloom are not native to this area but the painter added them because it was the symbol for the Medici family the orange balls are known as the medicinal appla or mala medica.

17-2 Giotto di Bondone
-Frescoes, scrovegni (arena) Chapel, Padua, 1305-1306. View towards the east wall.
-The artist created massive three dimensional figures that showed emotion and movement
-The figures were in shallow defined spaces, and in natural light

-Shows biblical events, in registers
-The altar shows the story of Mary and Joseph in the rectangular panels.
-The paintings show typology, where old testament events foreshadow new testament events

17-11 Merode Alterpeice (Triptych of the Annunciation)
-Robert Campin, c. 1425-28. Oil on wood panel.
-Hidden symbols in the scenes are lilies in the majolica, glazed earthenware, pitcher on the table symbolize Mary's virginity.
-White towel and hanging water pot in the niche symbolize Mary's purity and as a vessel for the incarnation of God
-The symbols in scene were known by the people of that time but not so clear today
-There are several interpretations of the middle scene; the angel has just informed Mary that she will have Jesus and she is accepting it, the moment before the Annunciation.

17-12 The Annunciation
-Jan van Eyck, c. 1434-36. Oil on canvas, transferred from wood panel, painted surface.
-It was placed in a richly appointed church not in Mary's house
-Gabriel is depicted young and richly robed and very colorful wings
-The figures gesture to the dove flying down will Mary finds out that she will have Jesus Christ
-There are golden letters coming out of their lips
-Dove symbolizes the Holy Spirit, the lilies symbolize Mary and the zodiac show the traditional date, March 25.
-The windows in the background represent the trinity

17-13 Man in a Red Turban
-Jan van Eyck, 1433. Oil on wood panel
-Thought to be Jan's self-portrait
-The face resembles that of the painter to every fine detail, the stubble and the poorly lite studio

17-14 Portrait of Giovanni Arnolfini (?) and His Wife, Giovanna Cenami
-Jan van Eyck, 1434. Oil on wood panel
-The artist signed the piece on the back wall by the mirror "Jan van Eyck was here
-An interpretation is that it was a wedding or betrothal
-the piece has combined the secular and religious
-surrounding the couple are symbols of wealth piety and married life
-The mirror may represent God's all-seeing eye, the dog may represent fidelity

17-15 Deposition
-Rogier van der Weyden, from an altarpiece commissioned by the Crossbowmen's Guild, Louvian, Brabant, Belgium
-The background has been gilded and makes the figure seen like they were pressing forward.
-The curved form of the Jesus is echoed by the form of the fainted Mary, it is meant to express the pain of the virgin to the viewer.
-It shows humanism in its concern for the individual expressions, all the characters react in a unique way

17-16 Last Judgment Altarpiece
-Rogier van der Weyden, after1443. Oil on wood panel. Made for a hospital in Breaune
-polyptych a multiple-panel work
-in the central panel Micheal is weighing souls on a rainbow above Christ under his order. Onthe ends of the rainbows are the Virgin and John the Baptist and six apostles on either side
-The clouds represents the heavenly realm

17-17 Portrait of a Lady
-Rogier van der Weyden, c.1460. Oil and tempera on wood panel
-transforms an ordinary young lady into a beauty
-long almond shaped eyes, regular features, smooth translucent skin, typical characteristics of Rogiers painting
-half-length pose with a high waistline and clasped hands (the artists used these characteristics for the Virgin and child
-pious and humble while wealthy proper and modest, shows the middle class patrons of art

17-18 Saint Eloy (Eligius) in His Shop
-Petrus Christus,01449. Oil on oak panel
-Eloy was a 7th century ecclesiastic, goldsmith and mintmaster for the French court. He helped rescue Christian captives with his wealth. He became the patron saint of metalworkers
-behind them figures is a crystal reliquary with a gold dome and a ruby and amethyst reliquary
-The two figure behind Saint Eloy is a young aristocratic couple, the man has on a badge that shows that he is a member of the royal court. the Lady is wearing the headdress that was worn by the ladies of the queen of France

17-49 Gates of Paradise (East Doors), Baptistry of San Giovanni, Florence
-Lorenze Ghilberti, 1425-52. Gilt bronze, height 15'
-shows ten Old Testament scenes in the door panels, the creation to the reign of Solomon
-the bust portrait appears in lower right corner of Jacob and Esau

17-76 Virgin and Child Enthroned with Saints Francis, John the Baptist, Job, Dominic, Sebastian, and Louis of Toulouse
-Giovanni Bellini, from the Church if San Giobbe, Venice, c. 1478. Oil on wood panel
-Sacra conversazione, is what this type of composition is called with the saints, angels, and the painting's donor
-shows a perspective view up into a vaulted apse
-uses a low vanishing point
-Saint Sebastian has arrows in his body
-The figure are in a Classical architectural interior

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