ARTS 150 1st EditionExam # 1 Study Guide, Lectures: 1 – 10Class days 2-11Review:Images to know (slide #, piece name, location, period)Key termsMedia and Techniques People (artists and patrons)Time Periods Answers to practice examLecture 1 (Class 2, September 3)#6, #10, Cathedral of Notre Dame of Chartres, France, Gothic periodi. Houses the tunic supposedly worn by Mary when she gave birth to Jesusii. Rounded Arches (earlier styles, Roman) vs. Pointed Arch (gothic): narrower, pointed archdid a better job of pushing the weight out and down into the ground. They could be builthigher than rounded arches.iii. Nave, Cathedral of Notre-Dame in Chartes (c. 1200-1250, France) Gothica. The nave is 121 ft high and its construction is a “ribbed groin vault”iv. Flying buttress: supports the height of the building from the sides. A column is built next to the building and is then connected to the main building via an arch. These arches make the building more stable as well as create a complex surface on the outside.#13, Rose Widow, Cathedral of Notre Dame of Chartres, France, Gothic period#15, #16, Prophets and Kings and Queens of Judea, Cathedral of Notre Dame of Chartres, France, Gothic period i. 4,500 freestanding sculptures on the cathedralii. The bodies of the sculptures are very stiff, but also have a sense of weightlessness, thereis no indication of their weight in the way their bodies rest on their pedestalsLecture 2 (Class 3, September 5) #5, #6, Palazzo della Signoria and Loggia dei Lanzi, Florence, late Medieval-early Renaissancei. Courthouse and public square, contains art work for public display#9 Anonymous, Byzantine Christ in Majestyii. Flat, no depth#11 Cimabue, Virgin Enthroned; Giottoi. shading becomes subtler, art takes on a more natural appearance Virgin Enthroned, Florence, e. Renaissancei. depth is being incorporated, shading, occlusion to show depth/overlapping#12 Giotto, Scrovegni (or Arena) Chapel, e. Renaissance #14 Giotto, Lamentation from Scrovegni Chapel, e. Renaissancei. first time people are shown in a crowd where they aren’t unrealistically arranged so that you can see all their faces #17, #18, #19 Lorenzetti, Allegory of Good Government, e. Renaissancei. city shows some attempt at depthii. business and trade being freely conductediii. angel is the allegorical figureiv. some naturalismLecture 3 (Class 4, September 8) #5 & #7 Andrea Pisano, Life of St. John the Baptist, Baptistery doors, Florence Cathedral, e. Renaissancei. Figures beginning to have weight and fluidity #12, #13,Limbourg Bros., January (l) and February (r), from the Très Riches Heures of the Duke of Berry, e. Northern Renaissance i. Figures in art are still flatter, but have greater detail#15 Buxheim St. Christopher and woodcut technique, e. Northern Renaissancei. Carve away all that won’t be printed#16 Martin Schongauer, Demons Tormenting Saint Anthony, and intaglio printing/engraving technique, e.Northern Renaissance ii. ink is laid in the grooves carved into a sheet of metal#17 Moveable Type Printing and the Gutenberg Biblei. Allowed for the bible to be mass produced and sold cheaply, commoners able to have copies and read for themselves#18 Finding the Unicorn at the Fountain, tapestry, Flanders, e. Northern Renaissance ii. Unicorn symbolizes Jesus, fables told that only a virgin could successfully find/approach a unicorn, it’s referencing to Maryiii. Message: you could go through Mary to reach Jesus with your prayers#19 Jan van Eyck, Arnolfini Double Portrait, Flanders, e. Northern Renaissancei. Figures have more weight, woman is doll-like because it was frowned upon to have femalemodelsii. darker coloring than main renaissance trends, has incorporation of shadows for depthLecture 4 (Class 5, September 10) #3 & #5 Jan and Hubert van Eyck, Ghent Altarpiece, closed and open, e. Northern Renaissancei. Closed: Gabriel coming to Maryii. Open: Adam and eve, God on a throne, sacrificial lamb symbolizing jesusiii. Human figures becoming more anatomically correct, women still look like dollsiv. Northern art is more modest#9 Cathedral of Santa Maria del Fiore, dome by Brunelleschi, Florence, middle Renaissancei. Unable to build the dome till Brunelleschi#15 Brunelleschi, Ospedale degli Innocenti [Orphanage], Florence, middle Renaissance i. Simple and elegant columns and arches#17 Andrea della Robbia, Infant in Swaddling Clothes (1487), Ospedagle delgi Innocenti, Florence, glazed terracotta, (middle) Renaissance#18 Palazzo Medici-Riccardi, exterior and interior, Florence, middle Renaissancei. Where the Medici family lived, they were patrons of the arts and had an interior courtyard with sculptures#21 Donatello, David, Florence (orig. in courtyard of Palazzo Medici-Riccardi, Florence, middle Renaissance i. Figure is in contrapoasto, the full frontal nudity would’ve been shocking at the time#25 & #27 Ghiberti, East doors, Jacob and Esau, Baptistery of Florence Cathedral, Florence, middle Renaissancei. incorporates continuous narration where multiple scenes from a single story are in the same panel ii. the bodies are much more naturalistic appearance when compared to the south doors byAndrea PisanoLecture 5 (Class 6, September 12) #4 Masaccio, Trinity, Florence, middle Renaissancei. shows, father (God), son (Jesus who is on the cross), and holy spirit (dove)ii. the father is behind his son ready to raise him up from deathiii. makes the “miracles” of the church more believable to the congregationiv. musculature is detailed, shows that the artist really studied human formv. tomb underneath: skeleton is highly detailed, artist had access to onea. conveys that everyone will die, if you made good choices you too will go to heaven#7 & #9 Masaccio, Expulsion from Eden and Tribute Money, Florence, middle Renaissancei. there is a window across from painting that allows light to hit the image, he uses the windows as his figurative light source for the shadows on his painting; makes it highly realisticii. "For the first time with Masaccio, men stand on their feet" tax collector especially, really seems to have his weight on his feetiii. Continuous narrative, realistic depth#11 Pollaiuolo, Hercules and Antaeus, Florence, middle Renaissancei. Everyone is fighting everyone in Italy at this time, not all art has to have Christian ties now, sculpture is dynamic, sort of out if context with Renaissance, shows great understanding of body in the action, pioneeringii. In the Medici collection#12