Study ARTH 102 - High Renaissance Works Flash Cards

 
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ARTH 102 - High Renaissance Works

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Return of the Hunters
Pieter Bruegel the Elder, 1568, Flemish, High Renaissance. Not much of a return from the hunt suggests that life is difficult. Suggests that winter doesn't last forever. Realistic depiction of the season.
The Meat Stall
Pieter Aertsen, 1551, Dutch, High Renaissance. Hints at sinfulness of gluttony. People in tavern eat oysters, an aphrodisiac -- symbol for sin. Leaner meat suggests that there's an alternative to higher fat, which parallels fasting.
Henry VIII
Hans Holbein the Younger, 1540, German, High Renaissance. Imposing image of the King of England. Ornate details and robes reflect his power. No extra room also emphasizes.
Four Apostles
Albrecht Durer, 1523-1526, German, High Renaissance. Picture of Sts. John the Apostle, Paul, Peter and Mark. Made for town of Nuremberg that was determining whether they'd be Catholic or Protestant. Encourages to think wisely, but somewhat favors Protestantism. Convincing contrapasto.
Isenheim Altarpiece
Matthias Grunewald, 1510-1515, German, High Renaissance. Made for a hospital for ergotistic patients for a hospital run by monastery of St. Anthony. Gruesome depictions that were accurate for symptoms of ergotism. Uplifting imagery made especially for the patients. Also depicts St. Anthony's life as well as Jesus' resurrection.
The Garden of Earthly Delights
Hieronymus Bosch, 1480-1515, Flemish, High Renaissance. Extremely bizarre imagery. At first it looks like heaven, but it's too strange to be heaven. Odd creatures, alchemic references. People who sin get their just rewards and everyone is capable of sin.
Madonna with Members of the Pesaro Family
Titian, 1526, Italian, High Renaissance. The Pesaro family, who commissioned the work, appear. St. Francis introduces them to Virgin Mary and Jesus, who's acting like an actual baby for once. Turkish soldiers are shown in chains, as they have won a military victory. The Pesaro family flag is also seen, painting a good portrait for the family. Foreshadowing is evident by the angels with the cross and the positioning of Virgin Mary and St. Peter (gates of heaven).
School of Athens
Raphael, 1508-1511, Italian, High Renaissance. Part of Stanza della Signatura, a library for Pope Julius II. Greek gods and goddesses are shown, which reflect that Catholics have developed more tolerance for ancient world. Plato and Aristotle hold Timaeus and Ethics respectively; the former points up, symbolizing that he put more stock in higher powers having all the power but humans being able to make a difference, while Aristotle points down, symbolizing that he is only concerned with earthly concepts, such as law. Heraclitus resembles Michelangelo and is secluded, another resembles Bramante as Raphael wanted to develop a good rapport with him, and Raphael himself appears to do himself a social favor.
The Creation of Adam
Michelangelo, 1508-1512, Italian, High Renaissance. Part of the ceiling of the Sistine Chapel. God has a cloud as well as a woman and child behind him -- this could either be Eve and a generic cherub, or the Virgin Mary and Jesus. God floats on a cloud that resembles a half-brain, which is Michelangelo crediting God for his artistic skill and talent.
Virgin of the Rocks
Leonardo da Vinci, 1485, Italian, High Renaissance. Eerie spiritual quality. Natural world is realistic, although a bit odd -- in an underground cave. Leonardo was clearly influenced by Northern European Early Renaissance. Use of sfumato, or a clouded effect, added to accuracy because there would be water vapor clouding the image in real life. The figures are doing realistic, human things. Geometry is evident in the placemet of figures in a triangular shape.
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