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6 Cards in this Set
- Front
- Back
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Bellini, S. Zaccaria Altarpiece, 1505, Venetian Renaissance
-figures about life size -the perspective, deep space make it renaissance -side space -focused on central scene by architectural elements -pyramidal composition -framed with the same architecture as the church itself |
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Giorgione, Pastoral Symphony, 1508, Venetian Renaissance
-Leonardo influence -atmospheric perspective -outdoor seting -much more pronounced sfumato -earthy tones -less precise more real and earthly -weighty figures - venetian artist set figures out in landscape because they didn’t have any |
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Titian, Madonna of the Pesaro Family, 1519-26, Venetian Renaissance
-sacred conversation -more contrast in the lighting -turns the viewer away from a frontal approach -we are lower than where the steps are -memento mori for jesus -bittersweet -painting mimics the viewer’s approach to the work itself -influnces from Montaigne |
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Titian, Venus of Urbino, 1538, Venetial Renaissance
-reclining nude -his mistress as Venus -for a male viewer -renaissance porn -sleeping dog – fidelity is not watching |
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Tintoretto, Last Supper, 1594, Venetian Mannerist
-we are put above the scene -the last supper has a totally different tone -swirling, full of life and movement -very supernatural feel to it -super otherworldly -very full of emotion - dark, spooky space -exaggerated, not stable, looks like its in a tavern |
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Palladio, Villa Rotunda, 1566-70, Venetian Mannerist
-reads all of Vitruvius’s manuscripts -knows his classical architecture very very well -countryside -4 entrances with 4 narthexes, very grand -pediment -deep staircase -understood architecture well and plays with the classical elements while exaggerating them -not practical at all -overdone but still classical |