| front |
back |
revisions |
lasted changed by |
history |
| Buxheim Saint Christopher |
Anonymous, 1423, German, Early Renaissance. Woodcut that was widely printed after the invention of the printing press. Owning this was believed to bring protection to the possessor. Literacy rose widely after the production of this piece. |
0 |
CFraissi Wed, 10 Feb 2010 05:16:52 GMT |
 |
| The Miraculous Draught of Fishes |
Conrad Witz, 1444, Swiss, Early Renaissance. Very convincing natural world, to the point of being more convincing than the religious figures. Looks very much like its model, Lake Geneva, even today. Appearance of water is particularly striking. |
0 |
CFraissi Wed, 10 Feb 2010 05:16:52 GMT |
|
| The Portinari Altarpiece |
Hugo van der Goes, 1474-1476, Flemish, Early Renaissance. Very influential artwork in Italy. It has convincing textures. Jesus lies on a pile of hay that simulates a halo and sheaf of wheat shown, symbolizing Bethlehem. Most influential of all was the depiction of the peasants, who have clear emotional reactions. This was widely copied. |
0 |
CFraissi Wed, 10 Feb 2010 05:16:52 GMT |
|
| Descent from the Cross |
Rogier van der Weyden, 1435, Flemish, Early Renaissance. Not quite realistic, but very emotional. Virgin Mary and Jesus parallel each other in physical appearance. Bones and skulls reflect that he was crucified in Golgotha; one is supposed to be Adam's skull, which symbolizes that sin has come full circle. Emphasis on blood and wounds. |
0 |
CFraissi Wed, 10 Feb 2010 05:16:52 GMT |
|
| The Arnolfini Portrait |
Jan van Eyck, 1434, Flemish, Early Renaissance. Man was probably Arnolfini, a trader and well-to-do nobleman, and his wife, who was from a rival merchant family. Don't know whether it's a marriage or not, but if so, it's morganatic (different ranks, meaning that wife won't get all possessions). Shoes symbolize marital expectations, red bed symbolizes passion, dog symbolizes lust, broom = "dusting the broom" (sexual euphemism). |
0 |
CFraissi Wed, 10 Feb 2010 05:16:52 GMT |
|
| Merode Altarpiece |
Robert Campin, 1425-1430, Flemish, Early Renaissance. Depicts the Annunciation in an everyday setting for the time period. Perspective is forced. Religious symbolism present -- ex. snuffed out candle that represents that Jesus is only human now, not divine, as well as winged baby that foreshadows Jesus' death. Engelbrecks in the picture as well. |
0 |
CFraissi Wed, 10 Feb 2010 05:16:52 GMT |
|
| Well of Moses |
Claus Sluter, 1395-1406, Dutch, Early Renaissance. Contrapasto isn't accurate, as people in this area were not accepting of accurate physical depictions quite yet. Moses has horns, related to a mistranslation of the Bible. People were squeamish about depicting non-Christian figures, so a figure of Christ washing with "blood" (water) was added. This was later mostly destroyed in the French Revolution. |
0 |
CFraissi Wed, 10 Feb 2010 05:16:52 GMT |
|
| Battle of San Romano |
Paolo Uccello, Italian, 1438, Early Renaissance. Depiction of a historical battle. The perspective is still not quite right (people not realistic sizes, objects not placed realistically, ect.) This is because the perspective is theoretical and not realistic. Also, the war horses look playful, not like they're fighting. |
0 |
CFraissi Tue, 09 Feb 2010 00:51:59 GMT |
|
| David |
Donatello, Italian, 1420s-1460s, Early Renaissance. Owned by Medicci family; needed to be privately owned because it was a nude figure, which was touchy at the time. David is depicted as a prepubescent shepherd boy standing on Goliath's head. This was the first nude statue since Greco-Roman times, and it expresses clear understanding of contrapasto. He is almost androgynous looking and he wears a hat attributed to ancient Greek shepherd boys. |
0 |
CFraissi Tue, 09 Feb 2010 00:51:59 GMT |
|
| The Last Supper |
Andrea del Castagno, Italian, 1445-1450, Early Renaissance. Perspective is not correct; a lot of elements conflict with each other (table is flat, roof and ceiling are conflicting dimensions, size of room, ect). Judas sits completely apart from the other disciples, suggesting that he is the betrayer (symbolism). |
0 |
CFraissi Tue, 09 Feb 2010 00:51:59 GMT |
|
| Annunciation |
Fra Angelico, Italian, 1445-1450, Early Renaissance. Fresco in a monastery where the artist lived, which served as a reminder to the monks. It shows pretty good understanding of perspective, although the characters are almost too large for the location. This is a convention of Biblical characters. There are inscriptions that convey messages as well. |
0 |
CFraissi Tue, 09 Feb 2010 00:51:59 GMT |
|
| Tomb of Leonardo Bruni |
Bernardo Rossellino, Italian, 1445-1450, Early Renaissance. Tomb of a town historian and intellectual. Other than the Virgin Mary and Jesus at the top, it's pretty much secular. It is very much influenced by ancient art, as Bruni was a huge patron of it. He wears a laurel wreath on his head and holds a copy of his history of Florence. It is highly humanistic; the muses hold a banner saying that his death will be mourned by history. |
0 |
CFraissi Tue, 09 Feb 2010 00:51:59 GMT |
|
| Holy Trinity |
Masaccio, Italian, 1425, Early Renaissance. The patrons who commissioned this piece are in the artwork. It shows a good understanding of one-point perspective via realistic angles and larger than life figures. God stands behind a platform behind Christ in the archway. A coffin and skeleton are part of the piece, reminding the viewer that no one is immortal (ironically, Masaccio died shortly after completing this piece). |
0 |
CFraissi Tue, 09 Feb 2010 00:51:59 GMT |
|
| Sacrifice of Isaac |
Lorenzo Ghiberti, Italian, 1401-1403. Winner of a contest in Florence for a bronze relief depicting the sacrifice of Isaac to put on the Baptistery doors. Ghiberti's makes a clear reference to Greco-Roman artwork and expresses movement very well. The runner-up was Brunelleschi, who later went on to design the dome of the Florence Cathedral. |
0 |
CFraissi Tue, 09 Feb 2010 00:51:59 GMT |
|
