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Leonardo, Ginevre de’ Benci
Florence, 1774
Oil on wood portrait. Very beautiful.
Behind her is a juniper tree, a pun on her name.
Intellectual and moral virtue is emphasized. |
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. Leonardo, Adoration of the Magi,
Florence c. 1481-1482
Not finished, and quite dark. This was the start of something. Palm tree and ruins refer to her virginity.
X-rays reveal leonardo only did the underpainting and therefore the image could not be restored without damaging it. The image was painted over previously to make it more visible, but this painting was inferior to Leonardo's own and therefore it altered his original piece. |
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Leonardo, Virgin of the Rocks,
c. 1483 (Louvre Version)
Madonna, Jesus and baby john the baptist with an angel.
SFUMATO- that's what the fuck it's called. wow.
Earlier of the two, agreed to be entirely by Leonardo. This is regarded as a perfect example of his sfumato technique. Very....imaginative for the time
Rocks in the back may or may not be real, probably real but they look almost mystical. Why are they even in rocks? |
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Leonardo, Lady with an Ermine,
Florence c. 1485
Probably painted while she was the mistress of Sforza. One of only four portraits of women painted by leonardo.
Very casual for a portrait, he does an excellent of of capturing a 'slice of time' rather than a stiff posed portrait. The ermine was also a symbol of purity. The weasel could also be a symbol of her pregnancy...it could also be a ferret.
How MUCH of her body is showing is also unusual for portraits. This as a whole displays Leonardo's expertise in painting the human form,
much detail
very art
wow |
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Leonardo, Last Supper,
Milan, c. 1497
Depicted disciples right after Jesus mentioned one of them would betray Him. Commissioned by Sforza.
Painting has deteriorated much, he did not work on the painting continually. Each apostle has a different reaction to the news, a different degree of rage and shock. He spent much time and effort into getting this right. Judas is in shadow reaching out for bread, not realizing Jesus just predicted that His betrayer will take bread at the same time He does.
Several mentions of 3 to the Holy Trinity. Apostles sit in 3, 3 windows, Jesus resembles a triangle.
Didn't use fresco because he couldn't modify it over a long period of time. He instead used gesso and tempura, and as a result the piece began to deteriorate a few years after completion. Curtains have been hun to protect the piece but only result in damaging it more. |
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Leonardo, Mona Lisa,
Florence c. 1503
One of the most, if not the most, famous pictures in the world.
Woman appears alive to an unusual measure. Because he didn't draw outlines in the corners of the mouth and eyes.
One of the first to depict the sitter before an imaginary landscape, and one of the the first painters to use an arial view.
No visible eyelashes or brows, but she originally had them. |
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Leonardo, Battle of Anghiari (known from Rubens’ drawing),
florence c. 1505
Lost painting, all we have is the sketches and studies. The only time Leonardo and michelangelo ever worked together o the same project, he was given another wall. Michelangelo didn't stay long enough to complete thr project though, only his cartoon.
Leonardo was very imaginative with all his armor and designing the strong graceful horses.
After his bad experience with the last supper, he attempted to paint this one in oil..he applied it so thickly though that it began to drip and run. Only the lower part could be saved, and afterwards he abandoned the project. Both unfinished pieces were lost in the renovation. |
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Michelangelo, Battle of Cascina, (known from a copy “after” Michelangelo)
florence c. 1504-1506
Cartoon or a never-completed mural. This was to show off his mastery of the body. One of the most influential and celebrated works in the history of art, it contains nearly 20 life-sized figures. Worn to shreds through other artists copying it.
By depicting a moment when the soldiers are skinny dipping and surprise attacked, he is doing away with traditional content and making art with art as the subject. |
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Michelangelo, Pieta,
vatican city c. 1498-99
most important early work, one of the most famous things ever carved.
-mary is big but this looks better! she is also too young. even Christ looks perfect and young. |
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Michelangelo, David,
vatican city c. 1501-1504
very very famous
commish by republican rulers of florence
he was a symbol of florence (little against the big)
copies donatellos david and makes it larger than life
this david has not yet killed goliath
his hands and head are larger- NEOPLATONIC |
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Michelangelo, Doni Tondo,
florence c. 1504
only finished panel painting by him to survive. figures resemble a sculpture more tan a painting. Most likely referenced from da vinci's virgin and child with st anne. |
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Michelangelo, Sistine Ceiling, Sistine Chapel, Vatican,
vatican c. 1508-1512
(know the major scenes by name, the ignudi (nudes), and prophets, and sibyls (for the prophets and sibyls you need only say “prophet” or “sibyl”—you don’t need their individual names) |
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Michelangelo, Venus and Cupid,
florence c. 1530’s
Pontormo’s Cupid and Venus is the painted expression of one of Michelangelo’s sketches
Venus was also the goddess of love and had several lovers including Vulcan, Mars, and Adonis. Cupid was the child of one such lover, Mars. Venus was the daughter of Jupiter and Dione, but she was said to have been born of the sea. Cupid and Venus remain as two of the most commonly recognizable gods and goddesses
Cupid does prick her with an arrow, perhaps he is seducing his mother to do that |
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Michelangelo, Last Judgment, Sistine Ceiling,
vatican c. 1536-41
On the altar of the sistine chapel in Vatican city.
Christ and mary are in the center. angels of the apcalypse are awakening the dead for judgement.
Mostly noted for its radical departure from standard depictions of the scene. The layout is swirled rather than layerd, Christ is beardless and muscular, all naked.
was accused of flaunting style over content. said to be more fit for bathhouses and taerns.
after he died cloth was painted over many of them.
later it was restored |
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Raphael, Marriage of the Virgin,
rome dated 1504
marriage ceremony between mary and joseph.
excellent perspective.
Mary, dressed in traditional red gown and blue cloak with her hair held by gauzy veils, looks, well, virginal. Joseph, dressed in something like a priest’s cassock with his saffron colored cloak draped elaborately around him, looks a bit careworn and older than his bride — some legends claim he was a widower. Presaging the man who will become his foster son, he’s the only one of the suitors to wear a beard. He’s also the only person in the picture who is barefoot. |
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Raphael, Entombment Altarpiece,
rome c. 1507
started sketches as a lamentation over the dead Christ. Moved the idea to the entombment of Christ...his long period of time preparing for this allows his style to grow from studying leonardo and michalengelo.
very moving piece, mary has swooned to her grief and other figures are graceful in their mourning. Creates an excellent subtle variation in skintones, best seen with mary and Jesu's hand. |
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Raphael, Disputa, Stanza della Segnatura, Vatican,
rome c. 1508-1509
circular tiers into heave, cloud angels
there appears to be an argument in the lower left. circular motif is in the center too with gradually larger circles leading to heave, the largest you cant even see!
Angels disappear the closer they get to heave, literally becoming light rays at the top.
Theologians are debating transubstantiation. |
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Raphael, School of Athens, Stanza della Segnatura,
Vatican, c. 1510
Plato and aristotle
-philosophers on platos (left) side share his views and vice verse. the right is more concerned with the practical matter of things.
Elucid writes on a tablet in the lower left, around him people are shown learning.
Figure in yellow behind him is the genius mapper of the group, in front of him the mapper of the stars, and beside them is raphael himself! this shows he thought of himself on their level. he is a master of geometry too, and easily on their level of science. He was giving himself that status, something unheard of 100year prior.
added figure on the left may be michalengelo, his rival. figure is bulky. believed to be a revision, by this time he has seen the sistine chapel and wanted the style for himself. |
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Raphael, Sistine Madonna,
sistine c. 1513
Where the little baby angels come from! (bottom)
these clouds are also full of cloud babies though they are much harder to see than pervious works.
presents the event as supernatural, a first.
most impressive christ child ever, wise and mature yet still clearly a child. |
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Raphael and workshop, Loggia of Psyche,
rome c. 1517-18
raphael's response to the sistine chapel in a way
cupid and human love subject matter.
relates to this man marrying a prostistute basically.
a polite way of pushing things under the rug.
raphael designed this but didnt paint much, it would have been humanly impossible to do alone. |
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Pontormo, Deposition,
florence c. 1528
whiring dance of the grief stricken. da fuck is that cloud doing up there
figures dont make sense in position, this is really just art to be pretty not natural.
no visible cross. While the world has lost color, the mourners have not!
The virgin is huge |
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Rosso Fiorentino, Deposition,
florence c. 1521
His masterpiece
look at the cloud on the left! like much of the painting it seems to float an its placement isn’t clear. clouds like this appear in many paintings and they remain unexplained. A cloud that is singular in size in religious picture may mean something special though. Pressence of God in the tabernacle known as a single cloud. Clouds in general are used as mediator .messengers throughout the Bible. This paining this about the dead Christ and perhaps this could is meant to represent Gods presence. These clouds in general could symbolize His presence even when it’s least expected throughout all renaissance paintings. |
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Rosso Fiorentino, Dead Christ,
florence c. 1525
darkness surrounded by angels, he is in limbo. taking all the good souls to heaven, this is christ in the tomb moments before the resurrectio. the light may be the rock moving. angels lean in to his face looking for life. referenced from 'pieta' in rome. (the statue thing) |
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Parmigianino, Self-Portrait in Convex Mirror,
parma c. 1524
Talents are recognized early, 'boy genius'
this is painted on rounded wood to give it the apperance of the convex mirror.
Sent as a gift looking for work, it was well recieved but with war and no money to waste on art he got nowhere. |
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Parmigianino, Virgin of the Long Neck,
parma c. 1534-40
His masterpiece
VERY stylized, he wanted to be unorthodox and create something new and unexpected.
Madonna is HUGE, Jesus is way to big for a baby. Little angles on the side are also elongated. St Jerome chillin in the background. |
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Correggio, Assumption of the Virgin, Dome of Parma Cathedral,
parma c. 1530
Illustrates mary's reunion with her Son. union of the faithful with the divine at the end of time.
Perfectly blurs the lines between architecture and work, you literally loose a sense of the ceiling above you.
angels busy themselves with funeral rituals while everyone else is being pulled up.
Excellent foreshortening on mary.
almost too many people, it's a mass of arms and legs lol |
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Correggio, Io,
parma c. 1530-32
Actually makes the cloud sex work. Love between Jupiter and Io, he impregnates her. Sumatto used on her, this made it easier to paint a very convincing woman. |
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Giulio Romano, Fall of the Giants,
c.1520s-30s, Palazzo Te, Mantua
They attempted to get to the gods but of course failed and the were thrown back down to earth and some chained in hell. This room depicts the giants in the process of working their way to heaven. you witness their destruction. Original floor matched the rocks on the wall. The entire environment was an immersion effect. |
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Salviati, Charity,
florence c. 1540’s
recognizable because of kids and breast.
indirect reference to michalengelo.
same pose...different arm. this is a representation of direct quotation.
art itself is becoming valuable in its own right. who made it? how well? it becomes ess about the purpose and more about the piece itself. they dont even care how lifelike something is, they want imagination. |
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Bronzino, Eleanora of Toledo,
florence c. 1545
image to show off her ability to produce children (male children)
medici wealth was on display here, dress is exceptionally well made and would have cost about 10M~ today |
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Bronzino, Allegory,
florence c. 1546
no idea who it's for. nothing do do with politics. venus kissing her son cupid while she pulls an arrow out of his quiver. |
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Cellini, Perseus,
florence c. 1545-53
The slaying of medusa. Enlarged head again. Yay mythical art starting to come into play.
this piece responded to the art already in the plaza because medusa turned men to stone... |
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Giorgione, Tempest,
venice c. 1505
painting pictures that go in entirely new directions! still a focus on landscapes. we have no idea what is going on in this piece.
aristocrat dress on a guy
first realistic lightning bolt in italian art.
painters now love female bodies with nature, prostitutes are rampant in the city so nature was seen as a place of purity. unplowed soil...western art theme in general. we love women in nature
buildings are old, nature is working upon it. use sfumato shading style.
there actually used to be TWO women |
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Giorgione, Dresden Venus,
venice c. 1510
basically early porn. one of his last works. considered by some to be the starting point of modern art. landscape and sky later finished by Titan.
Clear erotic implications through hand placement.
a nude this size was unprecedented in western art. body curves flow with curves in landscape |
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Titian, Venus of Urbino,
venice c. 1538
some say he invented the female nude for western art. floral bouquet in hand indicates marriage.
beautiful women hung in bedrooms to inspire men to make beautiful children. |
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Titian, Danae,
venice c. 1545
jupiter would change into things to sleep with women. in this case it's a shower of gold (sometimes coins)
more naturalism in people than Michelangelo, his appeared like statues. |
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Titian, Rape of Europa,
Venice c. 1560’s
jupiter, as a white bull, is carrying europa away while little chubby boys appear to be mocking her. clear sky w/ stormy sky is his way of showing the conflict between the two lovers. Superb use of light. |
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Titian, Assunta,
venice c. 1515-18
It's his first major commission in Venice, and he soon became the lead painter.
Its mary passing into eternal life, and since she couldnt do it herself Jesus is helping her.
Unveling was very popular and sealed his future as an artist |
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Titian (copy after), Martyrdom of St. Peter Martyr,
venice c. 1530
A vivid ekphrasis by Aretino describes how "you would comprehend all the living terrors of death" in the face and flesh of the man on the ground, and perceive "the pallor of vileness and the whiteness of fear" while contemplating his companion in flight. Aretino's description also brings home how realistic and shocking the image must have seemed to contemporaries. Such violence had never been seen in an altarpiece before, nor had any saint been portrayed in such a humiliating position, but Titian's solution is polemically Venetian in the importance of the landscape, whose trees soar and stir in sympathy with the drama below. |
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Titian, Christ Crowned with Thorns,
venice c. 1570
a lot of reference from older works used in this scene, including the bust of Caesar, a direct reference to roman authorities who condemned christ.
brutal scene. spears cut up the composition into triangles |
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Titian, Pieta,
venice c. 1576
this is titians last picture. He is actually painted in the piece looking upon Christ, as if he foresees his own upcoming death in his face. This piece was intended for his own tomb. |
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Tintoretto, St. Mark Frees the Slave,
venice c. 1548
St Mark appears to rescue one of his devotees. He is swooping down from above. On the right the executioner holds his broken instruments of execution in the air.
Strong contrast, much drama, wow. |
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Tintoretto, Annunciation,
venice c. 1583-87
viewer is placed in mid-air looking down into the house of mary. this piece follows the second phase the the annunciation, the greeting. her conception is often shown as jesus traveling to her on a beam of light, he showed the exact path with a swarm of putti.
much detail. |
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Veronese, “Feast in the House of Levi”,
venice c. 1573
Was the last supper, but the catholic church had a problem with this being 'canon' so it was changed to a feast loosely mentioned earlier in the bible.
'buffoons, drunken germans, dwarves, and other scurrilities' are present and frowned upon. |
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Annibale Carracci, The Bean Eater,
rome c. 1580s
peasant sitting down to a plain meal
genre scene, slice of life stuff. |
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Arcimboldo,Vetumnus,
milan c. 1591
shows high level of imagination while maintaining a skill in realism as well. a way to break out of the box and show talent at the same time. Now are is becoming more strange and creative. |
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Caravaggio, Basket of Fruit,
Rome c. 1597
Viewers would have seen the impermanence of life. The image represents the fleeting nature of life and the death of everything in time. *favored theme in europe*
A LOT of attention to detail. |
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Caravaggio, Judith and Holofernes
Rome c.1598
Widow Judith chains Holofernes, then decapitates him.
This beheading was a favorite subject of the age.
He chose to draw the moment of greatest impact! He liked exaggerated themes, imagination. Their faces demonstrate his mastery of emotion. |
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