ARTH 201 test 1

Donatello St. Mark, c. 1411-13 Or San Michele, Florence -body shows underneath drapery

Donatello, David, c. 1420s – 60s. Bronze, 5’2” Bargello Gallery, Florence - first free standing sculpture since Roman times -new humanism used -boots accentuate nudity, has calmness -adolescent boy

Donatello, Mary Magdalen, c. 1430-50, polychrome and gold on wood, 6’ 1” Museo dell’Opera del Duomo, Florence - wood sculpture -amaciated woman with despairing look on face -after crucifixtion, Mary became a hermit in the desert. This sculpture makes her look like a hermit.

Masaccio, The Holy Trinity 1425-28 Fresco, 640 x 317 cm Santa Maria Novella, Florence -puts central figures in niche - makes niche look deep -created orthogonals -your eyelevel is the same as the donors, the contemporary people of this piece

Masaccio, The Tribute Money, c. 1425, fresco, 8’1” x 19’7” Brancacci Chapel, Florence -tax collector demanding $ -humanizes Jesus (He has to pay taxes like real people) -we know Peter is Peter due to orange/blue garments -vanishing pt on Jesus' head -there are gestures, but no movement -solemn, psychological mood

Raphael, Madonna of Belvedere, 1506, Oil on Wood, Vienna -vertical rectagle -subject is Madonna, Christ Child - color is intense, color of Madonna's clothes stand out -Virgin has edges, stands out -not much motion -little space-atmospheric perspective-triangles actually narrower at base-billowy cloak-touch and gaze betweeb mother and son -unified sense of direction - children connected with gaze

Cimabue, Madonna Enthroned 1280-90 Tempera on Panel. Florence -Madonna looks distant, at different place than us -lots of gold, patterned throne -sharp contours -linear patterning -can get real sense of body under drapes

Giotto, Madonna Enthroned c. 1310 tempera on wood. Florence - more weight in image than Cimabue -artist credited for end of medieval painting

Interior, Arena Chapel (Scrovegni Chapel) Padua 1305-1306 by Giotto

Giotto, Christ Entering Jerusalem Arena Chapel 1305-1306

Duccio, Madonna Enthroned center of Maesta Altar 1308-11. tempera on panel Siena -naturalism

Filippo Brunelleschi, The Sacrifice of Isaac, 1401-03, Gilt bronze relief, 21 x 17 in. Bargello, Florence -more figures, action, movement -Isaac looks resistant & is twisting

Lorenzo Ghiberti, The Sacrifice of Isaac, 1401-03, Gilt bronze relief, 21 x 17 in. Bargello, FLorence -Isaac isn't twisting away in fear -Abraham is more static, less animated -there is a diagnal diving two groups of people, but leads us to lamb -uses foreshortening w/ angel

Lorenzo Ghiberti (Italian, 1378-1380–1455) Jacob and Esau relief, Gates of Paradise, 1425–52, from the east portal of the Baptistery, Florence; Gilt bronze, 31 1/2 x 31 1/2 in. Museo dell'Opera del Duomo, Florence -story: blind Isaac gives youngest Jacob blessing, when it really should have been eldest Esau -framed scene with architecture -uses vanishing point, which lies on a horizon (dividing between earth and sky) -he leaves vanishing point empty

Brunelleschi’s dome for the Florence Cathedral 1420-36 -Brunelleschi wins compeition for dome (against Ghiberti) -this type of dome was never made before