1 / 35

Art Policies and Analysis in European Art History

Explore attendance, cell phone, and laptop policies, along with in-depth analysis of artworks from Gardner’s Art through the Ages 13th Edition by women from chapters 14-25. Compare various artistic styles from Byzantine to Modernist periods. Examine notable artworks such as the Saint Francis Altarpiece and Carsten Holler installations. Delve into the impact of Italian Renaissance humanists and the influences of Greco-Roman art on the period. Analyze key works by artists like Giotto and comparisons with Byzantine art. Dive into the architectural marvels of Florence Cathedral and Siena's Palazzo Pubblico. Discover the significance of Ambrogio Lorenzetti's frescoes in Siena's political history.

clydev
Download Presentation

Art Policies and Analysis in European Art History

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Quiz 1 1) Describe in detail the attendance, cell phone, and laptop policies described on the syllabus 2) The number of artworks illustrated in Gardner’s Art through the Ages13th edition (only) by women, chapters 14-25. 3) Total number of artworks illustrated in chapters 14 through 25. 4) Linda Nochlin’s thesis (her answer to the question the title asks) 15 minutes

  2. Compare Byzantine (left) style and content with High Renaissance (right) (left) Bonaventura Berlinghieri, Saint Francis Altarpiece, 1235 and (right) Raphael, Baldassare Castiglione, ca 1514, mastered illusionism

  3. Compare (left) High Italian Renaissance Raphael, Baldassare Castiglione, ca 1514, with Vincent Van Gogh, Dutch Modernist, Portrait Dedicated to Paul Gauguin, 1888

  4. Compare Van Gogh (1888) Expressionism with Pablo Picasso (Spanish Modernist) Portrait of Vollard, 1910, “School of Paris” Cubism

  5. http://www.moma.org/audio_file/audio_file/82/411e.mp3Andy Warhol, (US Pop Art), Gold Marilyn, 1962

  6. Carsten Holler, Mirror Carousel, 2005. Installation view

  7. Carsten Holler, Untitled (Slide), 2011. Installation view

  8. Carsten Holler, Test Site, 2006. Installation view Turbine Hall at the Tate Modern, Londonhttp://www.tate.org.uk/modern/exhibitions/carstenholler/video.shtm

  9. Carsten Holler, Untitled (Slide), 2011, Installation view

  10. From Medieval to Renaissance: Italy, 1200-1400

  11. Map of the World

  12. Italy Around 1400

  13. Roman Forum. Italian Renaissance humanists – artists, writers, architects – were inspired by Greco-Roman literature and art, evident in ruins of classical culture that were part of their landscape.

  14. BONAVENTURA BERLINGHIERI, panel from the Saint Francis Altarpiece, San Francesco, Pescia, Italy, 1235. Tempera on wood, approx. 5’ x 3’ x 6”. A leading painter in the Italo-Byzantine style. Frontal pose and use of gold leaf show his Byzantine sources. Byzantine icon, St Nicholas, early 13th C. Greece

  15. CIMABUE (“Bull’s Head”), Madonna Enthroned with Angels and Prophets, ca. 1280–1290. Tempera on wood, 12’ 7” x 7’ 4”. Galleria degli Uffizi, Florence. One of the first artists to break with the Italo-Byzantine style. A summary of Byzantine style, but the throne recedes into space. Spatial illusionism is a hallmark of Renaissance representation.

  16. GIOTTO DI BONDONE, Madonna Enthroned, ca. 1310. Tempera on wood, 10’ 8” x 6’ 8”. Galleria degli Uffizi, Florence. Called the "Father of Western Painting” why? Empirical art: “[Giotto’s] true teacher was nature.”

  17. Compare Cimabue and Giotto.Is Giotto’s style more empirical?

  18. Roman maternal goddess, panel from the east facade of the Ara Pacis Augustae, Rome, Italy, 13–9 BCE. Marble, approx. 5’ 3” high. Compare Giotto (1310) for solidity of the body, a body that has weight.

  19. Giotto, Interior of the Arena Chapel (Cappella Scrovegni) 69 ft long, Padua, Italy, 1305–1306/1310. Fresco panels of the life of the Virgin (top) and the life and death of Christ and resurection (center and lower) http://art.docuwat.ch/videos/european-art-history/a-history-of-european-art-06-giotto-and-the-arena-chapelpart-i/?channel_id=0&skip=0

  20. GIOTTO DI BONDONE, Lamentation, Arena Chapel, Padua, Italy, ca. 1305 Fresco, 6’ 6 3/4” x 6’ 3/4” What is fresco (method and medium)? Illusionism of 3 dimensions and expression

  21. Anonymous Byzantine artist, Lamentation over the Dead Christ, wall painting, Saint Pantaleimon, Nerezi, Macedonia, 1164. Compare Byzantine Lamentation (above) with Giotto’s early Renaissance Lamentation on the right, ca 1305

  22. Sculptor ARNOLFO DI CAMBIO and others, Florence Cathedral (Santa Maria del Fiore, view from the south), Florence, Italy, begun 1296. Campanile (free-standing bell tower) by Giotto. Dome by Filippo Brunelleschi was built in the early 15th century.

  23. Compare Florence Cathedral (above) begun 1296 with the Cologne cathedral (left) begun 1248.

  24. Nave of Amiens Cathedral (view facing east), Amiens, France, begun 1220. Nave of Florence Cathedral (view facing east), Florence, Italy, begun 1296.

  25. Palazzo Pubblico, Siena, Italy, 1288–1309

  26. Palazzo Pubblico, Siena, Italy, 1288–1309

  27. Ambrogio Lorenzetti, Peaceful City, detail from Effects of Good Government in the City and in the Country, Sala della Pace, Palazzo Pubblico, Siena, Italy, 1338–1339. Fresco.

  28. Ambrogio Lorenzetti, Peaceful Country, detail from Effects of Good Government in the City and in the Country, Sala della Pace, Palazzo Pubblico, Siena, Italy, 1338–1339. Fresco. The first “real” (empirical) landscape painting – a portrait of a place. Siena was decimated by the Black Death in 1348. Approximately half the population died in the plague. The republic's economy was destroyed and the city-state quickly declined from its position of prominence in Italy.

  29. The Triumph of Death, 1325-50, Fresco, 18’6”x49’2”, Camposanto, Pisa

  30. The Camposanto (sacred field), cemetery, Pisa, Italy

  31. Francesco Traini (?) or Buonamico Buffalmacco (?), The Three Living, detail from The Triumph of Death, fresco, 1325-50, 18’6” x 49’2” Camposanto, Pisa

  32. Corpses, detail from The Triumph of Death fresco, Camposanto, Pisa

  33. Detail from The Triumph of Death, c. 1325-50, Camposanto, Pisa

  34. Detail from Triumph of Death, c. 1348, Santa Croce, Florence. The Catholic Church intensified preaching of guilt and penance following the Black Death.

More Related