Art History Exam 2 Terms – Flashcards

- The sleeping dog next to the woman's feet which symbolizes Fidelity or where Cupid would be if this woman was in fact Venus. -The color red stands out to the viewer because Titian uses the color for composition purposes; he wants to imply that there is a sense of space. -Titian contrasts the softly rounded body of the woman with sharp vertical edge of the curtain behind her so that the viewer can draw their attention to her left hand and pelvis and to divide the foreground and background.

-All figures are grouped along a vertical axis, and as a result of this Mary fall back from the viewer and lets go of Jesus' handinstead of presenting the action in a perpendicular plane. -Pontormo left an empty between Mary and his son and that emptiess accentuates the grouping of hands filling that whole, calling attention to the void which is symbolic of loss and grief. - The contrasting colors of pink and blue add to the dynamism and complexity of the work,

-The small man on the lower right hand side is not scaled correctly and does not make sense to be that size but this was the idea of a mannerist painting, the artist has a notion to create an artificial/constructed painting because he has the ability to do so. -The column behind Mary is a biological symbol that represents her elongated neck. -Viewers get a sense of elegance with her pose; long necks were considered beautiful during the mannerist period.

-The rose petals in the Folly's hands, ready to be thrown are symbolic of the foolish relationship between Cupid and Venus, they are son and mother. -Time appears in the upper right hand corner is drawing back the blue curtain to reveal the scene and can be symbolic of the fact that in time, the relationship between Cupid and Venus will be caught. -The girl with the lion legs behind Venus is symbolic of deceit and she becomes indicative in that this an artificial and constructed painting, otherwise known as a mannerist work.

-This work was painted for the right wall next to the high altar in Andrea Palladio's church of San Giorgio Maggiore. - The imbalance of composition and visual complexity are mannerist devices that Tintoretto has incorporated in the work. - Christ is above and beyond the converging perspective lines thus creating disturbing effects of limitless depth and motion.

-The two figures of the saltcellar are Neptune and Telus; Cellini called them Sea (the source of salt) and Land. - Cellini made this saltcellar for the table of Francis I. - The elongated propitious of each figure reveals Cellini's mannerist approach to form.

- The interlocking of the three bodies on a vertical axis creates a spiral composition that draws the viewers attention in an upward spiral motion. - The shifting imagery of the statue is due to the prominence of open spaces passing through the figures ( the space between an arm and a body ) which have a greater affect just as much as solids. - This is the first sculpture since classical antiquity that is designed to be seen from all viewpoints to get a feel of its composition and spiral motion.

- Because the vestibule is is much taller than it is wide, the vestibule gives the impression of a vertically compressed space. - Michaelangelo foreshortened dramatic movement of Baroque architecture through the flowing staircase that protrudes in a toungelike way from the doorway to the library. - The paired columns sinking into the walls, perform no support of function which can suggest that Michaelangelo, a High Renaissance master is disregarding classical norms and is working in a Mannerist mode.

- It was a secular commission and displayed in the palace of Henry III. - The numerous fruits and birds in the middle panel are symbolic of fertility which suggests that the scene shows procreation and many of the figures are paired off as couples which can also suggest that this also a painting that commemorates a wedding. - Scholars have interpreted the work as a warning of the fate awaiting the sinful and immoral but as a secular work, it has been intended for a leap armed audience fascinated by alchemy, which is the study of magical chemical changes.

- Created for the monastic hospital order of Saint Anthony of Isenheim and addressees the themes of dire illness and mercurous healing. They served as warnings to encourage devotion from monks and hospital patients. - The lamb in the crucification scene who's wound is spurting blood into a chalice is symbolic of Jesus. - The painted images also functioned therapeutically by offering hope to the afflicted.

- The four animals in the background are representative of human temperaments based on the "four humors". -The tension between the mouse ans cat in the foreground symbolize the relation between Adam and Eve during a crucial moment in the artwork, that is, the point in time where they disobey God. - Adam and Eve are standing in poses that are reminiscent of classical statues which reflect his studies of the Vitruvian theory of human proportions.

- Durer produced this work without commission because he wanted to document his support of Luther's ideas and suggests that he became a protestant. -The positioning of each figure represent Durer's Lutheran Sympathies, for example with Peter and John both reading from the the Bible, which according to Luther is the single most authoritative source of religious truth and that they are at the foreground who were favorites of Luther. - The text in the bible that John is reading is also symbolic of Durer's support of Luther. The quotes summarizes the idea of not looking to the church but looking at the word of God.

- The oriental rug and collection of objects reflect the worldliness and interest of learning the arts of both men. - the anamorphic image of the skull on the foreground is a skull which is symbolic of death and encourages views to ponder on death and resurrection. - The inclusion of luther's translations next to the lute with the broken string refers to the religious strife between secular and religious authorities.

- Arcading on the ground story reflects the ancient Roman use of arches and produces more shadow than in the upper stories due to its recessed placement thereby strengthening the design's visual base. - On the second story, pilasters rising from the bases and the alternating curved and angular pediments supported by consoles have direct antecedents in several High Renaissance palaces. - The decreasing height of the stories, the scales of the windows and the steep roof are all northern European elements.

- Frame resembles the cella of a classical temple is an u usual mix of Doric and ionic elements and bucrania which is a common ancient motif in ancient architectural ornamentation. - Gossaert was inspired by Durer's Fall of Man which is why the figures are posed the way that they are. - The architectural setting of the painting is based on sketches of ancient buildings Gossaert made during his trip to Rome.

- the candle stick behind the woman suggests that there is no religion in the room; a lit candle symbolizes god's presence in a room. - the wife observing her husband weight money rather than reading her prayer book highlights the events of financial transactions that were a prominent part of 16th century secular life in the Netherlands that distracted people from their religious duties. - in the convex mirror is a man reading a bible and around the mirror is an inscription that applies both to the money changers professional conduct and the eventual last judgement.

- The crossed fishes on the plater and the pretzels and wine in the rafters are all refer to spiritual foods where are all religious symbolism. - the oyster and mussel shells are all scattered across the floor and people are eating them. Netherlandish believed oysters and mussels possessed aphrodisiacs proportion and Arsten uses this to represent gluttony, lust and sloth. - the placard at the right advertising land for sale is Aertsen's reference to a recent scandal involving the transfer of land from an Antwerp charitable institution to a land speculator.

- This work is the first known Northern European self-portrait by a woman in which she confidently presents herself as an artist who interrupts her work to gaze at the viewer which earned her a considerable reputation during her lifetime. - The artist insured proper identification and credit by inscribing her name, age and date on the painting so that people know who she was/is/ - Her elegant clothing indicates her social rank and attributes personal dignity.

- the painting depicts the severe winter of 1565 which is when Bruegel produced this work, therefore viewers can get the sense that he was influenced by this event to create this painting. - the landscape's smooth development from the foreground to the background draws the viewers diagonally into this depths. - The painters skill sin using line and shape and subtlety harmony make this one of the most great landscape paintings in western art.

- In the center of the tracery is a pomegranate tree wreathing the coat of arms of King Ferdinand and Queen Isabella. which is symbolizing Granada, the Moorish capital of Spain the Habsurgs captured in 1492. - The armed Spanish soldiers on the side are symbolic of Spain's power and proud new militancy.

- Painted for the Church of Santo Tome in El Greco's adoptive home and it expressed the fervor of Spanish Catholicism. - The upper and lower spheres of reality of the painting (celestial and terrestrial) are linked from the upward glances of some of the figures below and the flight of an angel above link both spheres together and the action of the angel carrying the count's soul in his arms as Saint John and the Virgin reinforces this connection of both spheres. - The elongated figures existing in undefined spaces, bathed in a cool light of uncertain origin, explain El Greco's usual classification as a Mannerist.

- The facades two outer bays with bell towers were not part of Maderno's original design and so it does not have great verticality and visual coherence. - The three nave bays were added by request of Paul V because Church officals thought the central plan was too closely associated with ancient temples. -When viewed from a close range the dome barely emerges above the facades frontal plane which was due to the lengthing of the nave by Maderno that destroyed the effect Michaelangelo had planned.

- To define the long axis of a vast oval he joined two colonades to Maderno's facade is a result of two preexisting structures Bernini's that design had to incorporate. - The colonades extend a dramtic gesture of embrace to everyone who enters the piazza symbolizing the welcome the the Roman Catholic Church gave to its members dring the Counter-Refornation, "welcoming arms of St. Peter's. - At the end of each colonnade are pedametns which can suggest that Bernini took influence from ancient Greek and Roman architecture.

- Drapery covering David is there to help show viewers the dramatic motion of the work. -Heightened spiral of body and tension in rope as he prepares to throw the slingshot creates a mood of tension and concentration. - David is defining and interacting with the space around him which makes the work more dramatic and emotional.

- This artwork depicts a vision that Saint Teresa had about an angel after was canonized in a sexual metaphorical context; Bernini chose to depict the saint in ecstasy swooning back on a cloud to inspire faith to viewers. - The light shining of the rays of gold behind the sculpture makes it seem that the light coming down is from the holy spirit. - Bernini's depiction of Saint Theres correlated with the ideas of Saint Ignatius Loyola who argued that the re-creation of spiritual experience would encourage devotion and piety.

- The deeply recessed niches enchance the 3D effect. - The second facade, which is the narrow bay with its own small tower turns away from the main facade and follows the curve of the street which shows his belief to reject the notion that a church should have a flat front piece. - The dynamic counterpart of concave and convex elements on the two levels sets the facade in a smooth wave like motion.

- The tranquil hills and fields create an "ideal landscape"in which nature appears ordered by divine law and human reason and idealized antiquity and the idyllic life. - Creates a sense of deep space with varying light and shadow to suggest an expansive atmosphere. -The streams, carefully placed one above the other and narrowed, zigzag through the terrain and lead the viewers eyes back to the middle ground.

- The sharply lit figues emerging from the tenebrism background seem to be illumitinating by the light from the chapel's windows in which this work was placed in and adds a more dramtic element to the work. - When hung and viewed by a viwer, Saul's eyes would be leveled with the viewer's eyes and that adds more empathy and dramatic dimensions to the work as well. - The dramatic spotlight shining down upon the fallen Paul is the light of the divine revelation converting him to Christianity.

- The dramatic lighting of the action in the foreground emulates Carravagio's technique of tenebrism. - The way blood spurts everywhere as the women use all their strength to hold Holoferenes down and wield the sword creates a tension and strain that are palpable which is characteristic of the baroque art. - The women's arms are diagonal pushing towards the center and Holoferen's legs functioning to pair with the parallel forearms of Judith all bring the viewers eyes to the violent act.

- The sources for the composition in this painting were Roman reliefs and coins depicting emperors in triumphal chariots. -Aurora (Dawn) leading Apollo's chariot and woman around him represents the time of day. - Reni conceived the painting as a quadro riportato which reflects the training he received in the Bolognese art academy.

- Philip looks grungy and dirty which was the artists intention so that he resembles the common people and suggests an influence of Caravaggio. - Series of concavity of shadows and the hollowness of the torso gives us a sense of vulnerability and the way of how his body is not under his control. - A lower part of the painting is so dense with the terror and violence and lighter and more open upper part of the canvas can be symbolic of a spiritual redemption.

- The dinginess and dirtiness of Saint Serapion label him as a common person which evokes empathy from the viewers and is also a characterisitic influence of Carravagio. - The bright light shining on him calls attention to his tragic death and increases the dramatic impact of the image. - The small note next to him is there so that viewers are able to identify who he is.

- The dinginess and dirtiness of the water carrier labels him as a common person which suggests an influence by Carravagio. - Concinving depiction of the water jugs in the foreground complete with droplets of water adds to the credibility of the scene. - The use of tenebrism in the background also suggests an influence of Carravagio; Velazques studied his work.

- This paining was Velasquez's attempt to elevate himself and his profession since he was the first painter to King Philip and he was conscious of the honor and dignity belonging to his profession as a painter. - The open doorway and its ascending staircase lead the eye beyond the artist's studio and the mirror and outward glances of several of the figures incorporate the viewer's space into the picture as well and this extensions the composition's pictorial depth in both directions. - The two paintings hanging on the wall is Velazquez's tribute to the Flemish painter, Rubens who made the 17th century one f the most important in the history of art in Northern Europe.

- The body of Christ on the cross is placed as a diagonal that cuts dynamically across the picture while inclining back into it. - The bright highlights and areas of deep shadow suggest the influence of Carravagio's use of temebrism (although Rubens did not use tenenebrism in this work) enhances the drama. - The facial expression of Jesus and his followers create a tension that is emotional as well as physical.

- It is a stylish image of a related authority, as if they king were out for a casual rise yet no one can mistake the regal poise and the air of authority that Charle's parliament resented and was soon to rise again. - Charles I is at a sharp angle so the king, a short man, appears to be looking down at the viewer and makes him seem larger than he actually is. - Although he is off center, the composition of the work is balanced with a single keen glance at the viewer.

- The use of tenebrism highlights the main scene. - Artist enhances the sense of depth in the foreground by placing the leaves of the flower on the stone ledge as though they were encroaching into the viewer's space. - In this breakfast piece, her virtuosity is revealed with the wide variety of objects in the painting.

- Honthorst studied Carravagio's works in Italy which influenced the lighting and setting that is used in the painting. - The painting can be served as a warning of gluttony and lust, which are representative of the man on the right and the women feeding the glutton (most likely a prostitue) respectively. - Honthorst places a hidden light source in the image which is used as a pretext to work with dramatic and starkly contrasting dark and light effects.

- Hals was able to portray each milita member individually while still being able to retain action and variety in the composition by having some engage the viewer directly or having them look away or at a companion. - The uniformity of attire createsa lively rhythm extending throughout the composition and energizing the portrait. -

- The detail, precision and accuracy of this painting stronlgy reveals the training she received. - Her quick smile and relaxed pose as she stops her work to meet the viewers graze reveal her self-assurance. -Her elegant attire distinguishes her socially as a member of a well-to-do family which is an important aspect of her identity.

- Corpse os foreshortened thus activating the space by disrupting the strict horizontal orientation which is typical of traditional portraiture. - Triangular composition bodies gazes at the viewer instead of at the operating table, and creates a stabilizing element.

- The artist's use of light contributes to the animation of the group portrait astray rush to organize themselves for a parade. - This painting was one of 6 paintings of different artists to be commissioned by various groups around 1640 for the assembly an banquet hall of Amsterdam's new Musketeers hall, the largest and most prestigious interior space in the city.

- Rembrandt's mastery of the etching medium is evident in his use go light and dark to draw attention to Christ as he preaches compassionately to the blind and lame. -

- The specificity of the artist's image, for example the St. Bavo church in the background, reflects the pride Dutch Ruisdael took in recording his homeland.

- The curtain is being pulled back as if the viewer is looking into the room and disrupting a private setting. - The woman that the artist is painting is holding a trumpet and book which are traditional attributes of Cilo, the muse of history. - The map in the background serves as a reference to history as well as the clothing that the artist wearing in the painting, thus interpreting that the painting is an allegory, a reference to painting inspired by history.

- Characteristic of a venitas painting and gives viewers a sense of morality. - Arrangement of flowers creates a diagonal running from the lower left to the upper right corner of the canvas, offsetting the opposing diagonal of the table edge.

- The hundred's of mirrors set into the wall opposite the window, alleviate the hall's tunnel-like quality and illuisionistically extend the width of the room. - The mirrors, also enhance the extravagence of the great festivals Louis XIV was fond of hosting.

- The design of the mythological group was influenced by Poussin's figure compositions. - Apollo in this group represents Louis XIV; Apollo was often equated with the sun god and Louis 14th identified with that as well. -Girardon's classical style and mythological symbolism well suited France's glorification of royal majestry.

- The woman in the right may be the spirit of death and reminding the moral men that death is even found in Arcadia which is considered a spot of paradise bliss. - The woman is modeled off of Roman sculpture and the posture of the the youth with his foot on the boulder is from Greco-Roman statues of Neptune, showing that he was influenced by Raphael. -

- Claude's representation of the sun rays as they illuminate the morning sky or with

- No use of halos suggests that the artist was interested in scientific analysis of light. - Without the title, viewers would not be able to depict the religious figures because the scene look like a genre piece -Lack of emotion and motion and simplifying body volumes creates a calm characterisitic in the art work as a whole.

- In the skyline composition, two foreground towers act effectively as foils to the great dome which is just like the Dome of St. Peter's in Rome suggested an influence of the St. Peter's building. - Wren proposed to restore the old Gothic cathedral based on Roman structures and the Great Life of London allowed him to crea

- Light from the lamp pours forth from in front of the boy shiloutted in the foreground to create shadows that heighten the drama of the scene. - the bright light shining on the children's face means that they are being knowledges and enlightened. - The artist reinforces the fascination with the orrey by composing his image in a circular fashion, echoing the device's orbital design.

- By Cuvillies building the small lodge in the park of a palace in Munich this shows Germany's adoption of the Parisian style. - The Hall dazzles the eye with myriad motifs, forms and showcases the full ornamental repertoire of the Rococo style. - The silvery light, reflected and amplified the organic interplay of windows mirrors, bathes the rooms and what this does is create shapes and contours that weave rhythmically around the upper walls and ceiling coves.

- This painting is responsible for creating a new specific type of Rococo painting called fete Galante. -

- The swing is symbolic of sex. - The diagonal axis shows the leisure activity of back and forth motion of the swing. - The girl kicking off her shoe and exposing her foot was considered erotic during this period and suggests that this work is erotic.

- Was the first bridge to have iron in its deign and was built where Darby's family ran their cast-iron busines.