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Chapter 22: Sixteenth Century Art in N. Europe and the Iberian Peninsula

3/28/2016

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  • 22.1 Explore the impact of Italian art and ideas on the work and persona of German artist Albrecht Durer. Choose one of his works from the chapter, and discuss its Italianate features and the ways in which it departs from and draws on earlier northern European traditions.
  • 22.2 Discuss the impact of the Protestant Reformation on the visual arts in northern Europe, focusing your discussion on types of subject matter that patrons sought.
  • 22.3 Choose one European court that employed artists working in a “foreign” tradition from another part of Europe and assess how this internationalism fostered the breaking down of regional and national boundaries in European art. Be sure to ground your discussion in the work of specific artists.
  • 22.4 Choose a work of art discussed in this chapter that displays extraordinary technical skill in more than one medium. How was its virtuosity achieved, and how is it highlighted as an important factor in the work’s significance?
IMAGES (be able to identify these images by title, general time period, medium, and culture of origin)​

22- 5  Isenheim Altarpiece (closed)
22- 6  Isenheim Altarpiece (open)
22-7 The Four Horsemen of the Apocalypse
22-8 Adam and Eve
22-19 Burial of Count Orgaz
22-20 Garden of Earthly Delights (open)
22-21 Garden of Earthly Delights (closed)
22-25 Return of the Hunters
22-26 The Harvesters
p. 706 The French Ambassadors

​You should be familiar enough with other images presented in the text and lectures, so as to be able to support explanations of attribution and physical, formal, iconographical, and contextual analysis.
VOCABULARY:
  • Memento mori
  • Anamorphic






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Chapter 19: Fifteenth Century Art in Northern Europe 

3/27/2016

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  • 19-1 Analyze how Flemish painters gave scrupulous attention to describing the textures and luminosity of objects in the natural world and in domestic interiors, as well as having an extraordinary interest in evoking human likeness in portraits.
  • 19-2 Uncover the complex symbolic meanings that saturated both settings and subjects of northern European paintings.
  • 19-3 Explore the ways in which northern European paintings of the fifteenth century captured in concrete form the spiritual visions of their meditating donors.
  • 19-4 Investigate the emergence of printing as a major pictorial medium.

IMAGES 
(be able to identify these images by title, general time period, medium, and culture of origin)

19-1 Double Portrait of Giovanni Arnolfini and his Wife (see also 19-13)
19-06 February
19-07 January
19-12 Man in Red Turban
19-10 Mérode Alatarpiece (Triptych of the Annunciation) (open)
19- 14 Ghent Altarpiece (closed)
19-15 Ghent Altarpiece (open)
19-27 The Buxheim St. Christopher
19-28 The Temptations of St. Anthony
p. 592 - Woodcuts and Engravings on Metal
19-29 The City of Nuremberg

You should be familiar enough with other images presented in the text and lectures, so as to be able to support explanations of attribution and physical, formal, iconographical, and contextual analysis.
VOCABULARY:
  • diptych
  • triptych
  • polyptych
  • altar
  • predella
  • horizon line
  • picture plane
  • oil painting (glazes)
  • woodblock/woodcut 
  • engraving
  • relief vs. intaglio
  • graphic arts
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Chapter 21: Sixteenth Century Art in Italy

3/11/2016

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  • 21.1 Compare the emphasis on drawing and clearly structured compositions in the work of Roman and Florentine painters with their Venetian counterparts’ exploration of the expressive potential of color and dynamic figural arrangements.
  • 21.2 Examine the architectural creativity lavished on the design of both grand churches and pleasurable retreats to embody themes of wealth and power in sixteenth-century Italy.
  • 21.3 Trace the shift in the artistic center of Italy from Florence to Rome, and recognize the efforts of Pope Julius II to create a new “golden age.”
  • 21.4 Explore the international subversion of Classical style and decorum in the work of Mannerist artists.
IMAGES (be able to identify these images by title, general time period, medium, and culture of origin)

21-1 Raphael's "School of Athens" (see also p. 642)
21-5 da Vinci's "Mona Lisa"
21-6 da Vinci's "Vitruvian Man"
21-9 Michelangelo's "Pieta"
21-10 Michelangelo's "David"
21-11 Interior, Sistine Chapel
21-19 Bramante, Il Tempieto
21-23 de'Rossi's "Joseph and the Potiphar's Wife"
21-28 Titian's "Venus of Urbino"
21-33 Bronzino's "Allegory with Venus and Cupid"
21-38 Michelangelo's "Last Judgment"
21-39 St. Peter's Basilica, Vatican
21-40 Il Gesu, Rome, plan and facade
​
You should be familiar enough with other images presented in the text and lectures, so as to be able to support explanations of attribution and physical, formal, iconographical, and contextual analysis.
VOCABULARY:
  • cinquecento
  • ​chiaroscuro
  • sfumato
  • intonaco
  • pendant
  • stanza
  • cartoon
  • pieta
  • pilaster
  • putti
  • sibyl
  • ignudi
  • spandrel
  • lunette
  • maniera 
  • refectory
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Chapter 20: Renaissance Art in Fifteenth-Century Italy

3/10/2016

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  • 20.1 Examine how sculptors were instrumental in the early development of the Italian Renaissance by increasing the lifelike qualities of human figures and drawing inspiration from ancient Roman sculpture.
  • 20.2 Explore how an interest in scientific investigation blossomed into the development and use of linear perspective throughout fifteenth-century Italian painting.
  • 20.3 Assess the role of wealthy merchants and condottieri in driving the development of Renaissance art and architecture.
  • 20.4 Consider how the new focus on artistic competition and individual achievement created a climate for innovative and ambitious works.
IMAGES (be able to identify these images by title, general time period, medium, and culture of origin)

20-2 Florence Cathedral
20-5 Ospidale degli Innocenti
20-6 Infant in Swaddling Clothes
P. 603: 20-9 & 20-10 Competition panels for the doors of the Florence Baptistery
20-14 Donatello's "David"
"Gates of Paradise": 20-16 & 20-17
20-19 Masaccio's "Trinity"
20-22 Masaccio's "The Tribute Money"
20-24 Paolo Uccello's "The Battle of San Romano" (see also, detail 20-1)
20-34 del Verrocchio's "David"
20-40 Botticelli's "The Birth of Venus" (see also, p. 628 "Primavera)

You should be familiar enough with other images presented in the text and lectures, so as to be able to support explanations of attribution and physical, formal, iconographical, and contextual analysis.
VOCABULARY TO KNOW
  • ​quattrocento
  • p. 610 - Renaissance Perspective
  • linear perspective
  • atmospheric perspective
  • horizon line
  • vanishing point
  • orthogonal lines
  • diminution
  • sgrafitto
  • giornata
  • trompe l'oeil
  • allegory
  • in situ
  • quatrefoil/barbed quatrefoil
  • di sotto in su
  • loggia
  • chiaroscuro
  • camera picta
  • foreshortening
  • sacra conversazione
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