Havc Final

Donatello, David with the Head of Goliath, ca. 1430-32, bronze, 62 3/16 in. highMuseo nazionale del Bargello, Florence8.13, 14, 15, 16, 17; 9-10.9-commisioned by medici family, city of florence setting, relates to small florence city standing up to larger forces, like david and goliath narrative, david biblical,large male head,contraposto, classic antiquity

-armor would have been bronze so sculpture is bronze

-Renaissance rediscovery oflost-wax bronze casting

Sandro Botticelli, Primavera, ca. 1478, tempera on panel, 79 15/16 x 123 5/8 in.Galleria degli Uffizi, Florence-medici family

- Allegory ofSpring

- Zephyr abducting thenymph Chloris Flora scatteringflowers Venus, goddess ofApril, of gardens Cupid firing arrows The Three Gracesdancing Mercury, god of May,dispersing last clouds

- parallels between itsimagery and lovepoetry? --painted to celebratea wedding? --related to Neo-Platonic philosophy oflove? --expresses visualpoetic invention? Characters wearcontemporary, notclassical costumes;conventions are notall of the ancient past

Botticelli, The Birth of Venus, ca. 1478, tempera on canvas, 73 x 112 3/8 in.Galleria degli Uffizi, Florence-medici family,female nude isn't mary, in famous pose of classic antiquity, something new is happening

-venus appears in classical nudethe first since antiquitymixed with some features from contemporary italian poetrymodest venus again

Botticelli, The Story of Nastagio degli Onesti (four panels), ca. 1483, oil on panel and tempera on panel, approx. 32 5/16 x 55 1/8 in. eachMuseo del Prado, Madrid

-probably wedding giftdude in love with woman and she rejects himcontinous narrataive

-linear perspective

Botticelli, The Story of Nastagio degli Onesti (four panels), ca. 1483,

Botticelli, The Story of Nastagio degli Onesti (four panels), ca. 1483,

Michelangelo Buonarroti, David, 1501-04, marble, approx. 17 ft. highGalleria dell’Accademia, Florence

- originally intended to be installed on the roof of the Duomo(cathedral) marble block was worked by 2 artists before Michelangelo unlike previous versions, depicts the moment before David flings the stone that kills Goliath depends on turn of head to propel narrative interest stark nudity, some exaggerated proportions intended to celebrate Republican Florence’s ousting of the Medici David as allegory of the Florentine Republic

-hand is out of proportion detailed veins, heroic male nude with emotional focus in turn of the head, intensity in eyes carving, long slingshot draped over back, no longer adolecent but grown man, vulnerability in stance in piazza della signoria

Baccio Bandinelli, Self Portrait with drawing of Hercules and Cacus, ca. 1545, oil on wood, 56 1/16 x 44 5/8 in.Isabella Stewart Gardner Museum, Boston9-10.11

Benvenuto Cellini, Perseus with the Head of Medusa, 1545-53, bronze, approx. 17 ft. (with pedestal)-greek pagan source,small female head,contraposto,classic antiquityPiazza della Signoria (today’s Piazza Vecchio), Florence

-hose theme from classical antiquity, severed head, chose end of story standing on rest of the body, blood squirting from neck and head, melodramatic difficult casting process, weight balance in arm angle, medusa Topos- looking directly at face of medusa turns to stone, arm angle depicted at other stone statues on piazza shows competition, bronze over stone

-Piazza della Signoria

Michelangelo, Sistine Chapel ceiling, 1508-1512, fresco, 131 ft. 3 in. x 42 ft. 8 in.The Vatican, RomeIncluding the scenes: The Creation of Adam; The Creation of Eve; The Fall and Expulsion; The Libyan Sibyl; three ignudi

-commisioned by julius ii , did ceiling work previously had starry night theme, close relationship with pope julius ii worked on his tomb, temple used by the elite of the vatican, biblical narrative focusing on genesis, shows scenes of creation of world, adam/eve, the fall, stories of noah, had not done much painting had to learn fresco, serpent becomes anthropromorphic figure reaching towards eve, continuous narrative showing adam/eve

Michelangelo, Sistine Chapel ceiling, 1508-1512,The Creation of Adam;

-a pregnant moment, not touchin, figures more spaced out, diego-drawing, design through process of drawing, training method material object

Michelangelo, Sistine Chapel ceiling, 1508-1512,The Creation of Eve;

Michelangelo, Sistine Chapel ceiling, 1508-1512,The Fall and Expulsion;

Michelangelo, Sistine Chapel ceiling, 1508-1512,The Libyan Sibyl

-abstract figure relief pattern, body parts seen on different scales, angels

Michelangelo, Sistine Chapel ceiling, 1508-1512 three ignudi

Michelangelo, Sistine Chapel ceiling, 1508-1512 three ignudi- ignudi-nudes, no narrative role supporting cast, demonstration of different body positions

Michelangelo, study of a reclining male nude for The Creation of Adam, 1511, red chalk over stylus underdrawing, 7 5/8 x 10 3/16 in.British Museum, London

Michelangelo, Last Judgment on altar wall, Sistine Chapel, 1535-41, fresco, almost 48 ft. highThe Vatican, Rome

-high-end of medici reign, shows last judgement and greek mythology boatman leading souls of the damned, coming out as skeletons gain flesh, figures tumbling down, foreshortening, jesus has virgin mary next to him floating on cloud, massive torso no beard, received criticism , many figures have been censored by church officials after michelangelos death, criticized amount of nudity in a holy place, possible self portrait, saint bartholowmew flayed skin,

Albrecht Dürer, Adam and Eve, 1504, engraving, 10 x 7 5/8 in.The Metropolitan Museum of Art, New York9-10.41, 42, 43; 11-12.35; 13-14.12

- before the fall snake offering fruit in mouth black/white, tree branches cover genitals, surrounded by many animals representing temperaments of people,, leg placement similar to david/apollo belvedere, eve idealized female figure, image reversed, plaque displaying name, not revival but completely new technique, abstract proportions

Jan van der Straet, The Practice of the Visual Arts, 1573, pen and brown ink drawing on paper with brown wash, heightened with white, 17 1/8 x 11 ½ in.British Museum, London

-all looking at things and drawing,models, much different then guilds ,emphasis on liberal arts, respect for classical past,painting victory figure, river god and venus figurine representing classics attempting to portray life like figures of all these

Johan Joseph Zoffany, Academicians of the Royal Academy, 1771-72, oil on canvas, 39 ¾ x 58 in.Royal Collection Trust, London

-ecorche figure apparent, using live models, females picture on wall honorary members of society, unproper for woman to be around nude models, woman had to paint different genres flowers

Albrecht Dürer, Four Naked Women, 1497, engraving, 7 ½ x 5 in.The Metropolitan Museum of Art, New York

--odd ball suspended above, skull by womans foot, and arm bone, doorway on right and left with flames and clouds and a face, very mysterious, detailed and engraving, dog or demon holding a pair of sticks, could be device used to catch birds, theme popular at the time caught like a bird, mandrake plant mild opiate , in other botanical books associated with sorcery, alternate title is four witches

Giorgione, The Tempest, before 1507, oil on canvas, 32 11/16 x 28 ¾ in.Galleria dell’Accademia, Venice

- dealt with poetry whether than mythological beings, figures identities unknown, is the woman virgin and child, mary never shown nude, what is relationship between man and woman, pastoral-art that depicts the lifestyle of pastoralists shapers herding livestock, idealized

Giovanni Bellini, Feast of the Gods, 1514, oil on canvas, 67 x 74 in.The National Gallery of Art, Washington, DC11-12.11, 17, 53

-kingfisher pagan subject matter ancient gods associated with winter solitude, figure of neptune portrait of alfonso d’este hung together shared themes, commisioned by alfonso deist for his camerino dalaberstro alabaster room in the ducal palace at ferrara, halcyon days, theme from literature , blue color very expensive

- kingfisher =[h]alcyon “pagan” subject matter,ancient gods andgoddesses associatedwith the winter solstice The figure of Neptune isa portrait of Alfonsod’Este Halcyon days = shortperiod of good weatherin January when thekingfisher bird lays itseggs; a time of goodfortune

Titian, Bacchanal of the Andrians, 1518, oil on canvas, 68 7/8 x 76 in.Museo del Prado, Madrid

-much more movement/activity, wine being poured, child lifts shirt, music shown has to do with drinking, nymph not ariadne matches water nymph is painted, philostratus poet who inspired painting, river god in background, similarities between woman sleeping, this state much more revealed

Giorgione and/or Titian, Sleeping Venus, ca. 1510, oil on canvas, 40 x 69 in.Gemäldegalerie Alte Meister, Dresden

-nude woman streched out on cloth outdoors

Titian, Venus of Urbino, 1538, oil on canvas, 47 x 65 in.Galleria degli Ufizzi, Florence-seductive look,titian worked in venus, before tradition in painting, set many traditions,private commission by duke of urbino, married very young girl,castone trunk

-inspired by sleeping venus, indoors same cloth color, 2 other female figures looking in trunk, woman is awake looking at us holding flowers,la donna nuda the nude woman, not originally venus, cassone-large trunk used to store clothing, usually brides wardrobe commissioned by groom or his family on the occasion of marriage, could be touchi herself mark twain, could depict courtesans , medical theory auto eroticism medical function in time period used for conceiving, theme of painting relates to object, IMAGES STIMULATE PEOPLE EROTICALLY, projecting desire, similar to hals baldung green adam and eve 1530, female body their for enjoyment, pleasure in looking, who is the ideal viewer, urbino used to be in urbino, more related to marriage than giorgione, dog shows faithfulmness, used to show marriage and womans role in marriage, should be hung where men /woman are because it causes sexual excitement and encourage baby making, paintin resembles shape of wedding trunk longer than they are wide, belief that woman could not have a child unless she reached orgasm, not venus pudica gesture, had been labeled as a prostitute or courtesan , eye contact seen as problamatic

Zacchia il Vecchio after Fra Bartolomeo, Saint Sebastian, 1526, oil on panel, 57 x 33 7/8 in. Convent of San Francisco, Fiesole

-arrows sticking out of neck and side, woman would sin because of this painting originally displayed in church, homoerotic- intending to arouse sexual desire in a person of the same sex

Jan Gossaert, Danaë, 1527, oil on panel, 44 15/16 x 37 7/16 in.Alte Pinakothek, Munich

-seated in temple whether than in bed, inspired by roman architecture different from his home netherlands, golden rain coming down again between her legs, blue rob is expensive garment blue color very expensive, associated with virgin mary due to blue color, showing of legs somewhat sexual

Annibale Carracci and workshop, The Triumph of Bacchus and Ariadne in the Farnese Gallery, 1597-1608, frescoPalazzo Farnese, Rome

--commissioned for palazzo farnese rome, wanted to glorify colore and disegno, comissioned as wedding gift, had statue from hellenistic period, 2 chariots one has bacchus the other has ariadne preparing to be married, venus depicted nude in corner based on cleopatra, male figures posed with legs crossed to conceal genitals, more modest, similar to michaelangelos ignudis on ceiling of sistine chapel , idea that love conquers all, other scenes show making fools of themselves for love , you can succumb to love even gods, taking hercules club sexyal innuendo Palazzo Farnese, Rome

Agnolo Bronzino, Portrait of Cosimo I de’Medici as Orpheus, ca. 1537-39, oil on panel, 36 7/8 x 30 1/16 in. Philadelphia Museum of Art, Philadelphia

- portrait historié = (French) Modern art historical term forportraits in which sitters are costumed asmythological, biblical, and historical figures

- Orpheus = Greek poet, musician, and prophet whoattempts to rescue his wife from theunderworld

- Cerberus = multi-headed dog guardingentrance to the underworld portrait historié = (French) Modern art historical term forportraits in which sitters are costumed asmythological, biblical, and historical figures

-orphieus known for musical ability holds bow, naked, dog phases present, orpheus famous for poetry, tried to get wife from underworld, doggs are guard of underworld, careberas multiple heads on one dog, could be created to show his readiness for marriage, tuscany was entering area of peace under his rule so no more armor, portrait histoire- french modern art historical term for portraits in which sitters are costumed as mythological beingsPhiladelphia Museum of Art, Philadelphia

Bronzino, Portrait of Andrea Doria as Neptune, ca. 1530-40, oil on canvas, 45 ¼ x 20 7/8 in.Pinacoteca di Brera, Milan

-portrait of admiral andrea doria, facial features and body associated with neptune possibly or nude, portrait historié

Giambologna (Jean de Boulogne), The Abduction of the Sabine Women, 1574-82, marble, 13 ft. 8 in. highLoggia dei Lanzi in the Piazza della Signoria, Florence

-lorence-onbe piece of marble twisting forms, dynamic and active,rapture, rapta sabina means raise up or rape, figure serpentina-serpentine figures twisting of bodies

Gian Lorenzo Bernini, Apollo and Daphne, 1622-25, marble, 96 in. highGalleria Borghese, Rome11-12.43 (R); 13-14.6, 7, 8, 9, 10

-shows woman and nature she's metamorphosing into a plant in order to get away, apollo is in love with her, figures more lean and elongated than usual

- Apolloand Daphne was meant to beseen from one specific angle

Pieter Paul Rubens, The Elevation of the Cross, ca. 1610-11, oil on panel, 15 ft. 2 in. x 11 ft. ½ in. (center panel), Cathedral of Our Lady, Antwerp

-artist not part of any movement prolithic and influential, networks with other artists, has a large workshop, in antwerp cathedral, in situ-in its original place, not continuous figure, alter piece, 3 parts, large muscles, christ has more weight than were used to seeing, use of diagnals, shows power of church and christ in painting, resurgence of the church, more dram and energy in painting, depicts god as more triumphant even though he is dying, commissioned by jesuits,l used his study sketch from lagoon sculpture,artistic imitation- selecting references to earlier monuments and synthesizes them to reduce a unique artistic statement,

Rubens, The Judgment of Paris, 1639, oil on canvas, 78 3/8 x 149 ¼ in. Museo del Prado, Madrid

-a classical narrative told by various ancient sources, triggers the trojan war, man on left is hermes/mercury, seated man named paris mortal man known for his fairness, paris judges which goddess is the most beautiful, manerva, venus and juno, venus offers hellen the most beautiful woman but she is married to greek king creates trojan war

Rembrandt van Rijn, Bathsheba at her Bath, 1654, oil on canvas, 55 15/16 x 55 15/16 in.Musée du Louvre, Paris13-14.25

-receiving news her husband had died in battle,works in netherlands dutch republic, shows exotic of past, older woman kneeling and washing her feet, creates very dark pictures,we have to speculate on what she's thinking about, holds leatter telling her husband is dead,

François Boucher, Diana Leaving Her Bath, 1742, oil on canvas, 22 11/16 x 29 1/8 in.Musée du Louvre, Paris

-playful, sensual, erotic subject matter,overly decretive, light pastel colors, always virgin, bathing after hunt, soft organic shapes, appealed to aristocratic tastes and clientele, seen by visitors at exhibition, salon care of louvre,appealed to aristotic class, more for pleasure minimal narrative, rococo

Théodore Géricault, The Raft of the Medusa, 1818-19, oil on canvas, 16 ft. 1 in. x 23 ft. 6 in.Musée du Louvre, Paris

-academy survives revolution, artists begin to make changes in the way history is considered, painting becomes a lot more critical of institutions at the time, based on actual event, ship bringing french colonists down cost of africa to settle their, captain appointed by king out of favoritism never sailed bought before, captain bonded many escaped on life boat towing many, cut raft off, original had 150, 15 survived, shows lots of death, rescue not indicate din painting, used first hand accounts to paint, wanted to suppress this account, gercicault went to morgue to actually view bodies, hatchet seen in painting, cannibalism occurred in the 13 days on the boat, trial and punishment occurred for captain, king liked it, pointing finger at abuse of power

Eugène Delacroix, The Death of Sardanapalus, 1827, oil on canvas, 12 ft. 10 in. x 16 ft. 3 in.Musée du Louvre, Paris

--theme is based on play by british poet lord byron, scene is not in play, surrounded by slaves male and female and horses, under siege in battle knows he is going to lose has all off his posessions burned and slaves kill each other as a form of mass suicide, he calmy observes everything, their is no explicit violence but strong use of red color, all figures pale and stripped down, sexualizes violence, critiques didn't know how to handle sex and violence, becomes trend their are only certain things you can present to public

Édouard Manet, Dejeuner sur l’herbe (Luncheon on the Grass), 1863, oil on canvas, 82 x 104 in.Musée d’Orsay, Paris13-14.48, 50, 51, 52; 15-16.28, 43

--distturbing to initial viewers, 3 figures having a picnic, woman in back bathing in lake, nude woman seated with 2 clothed men, artistic imitation, used brother in law as one model, woman is his favorite model, other male figure recognizable well known, pulled away from traditions, didn't like the position of female she's turned toward audience, also the way manet paints without blendingg and able to see broad strokes, critics didn't know what to make of it and bringing traditions from past, woman in the background proportions is off, the texture of romans skin and her pose is not appealing or sexual,

Manet, Olympia, 1863, oil on canvas, 51 7/16 x 74 7/8 in.Musée d’Orsay, Paris-breaking conventions,not seductive look,cadaver,yellow waxed skin

-equally criticized, wearing slippers, black cat at end of bed, black woman bringing her flowers probably a servant, divided into 2 haves , greatly based off of titian venus urbino, similar line of curtain, legs crossed white sheet hiked up on red bed, difference flowers in ear, jewelry, believed image of courtesan common prostitiute,olympia is the name a prostitute would have for herself, venus was also mostly identified as a courteasan, manet looks back to goya, more upright stiff, critics didn't like the way he painted their are harsh outlines that make her look dirty, said her skin looked waxy and yellow looked like something out of a morgue, her gave is not naturalistic or beautiful, gaze is cold sizing you up not inviting you in made her seem more like a common prostitute flowers could be gift from suitor, flattened hand isn't inviting you in covering her, has no veil of mythological identity, didn't want to dress the issue of prostitution or portraying a prostitute, many caricatures published because the painting didn't conform, no one wrote about black maid in the painting

Guerilla Girls, Do women have to be naked…? 1989 and 2011, screenprint on paper, 11 x 28 in.

-proest inequality in art of woman in art, posters outside of museums on walls buses

Paul Gauguin, The Spirit of the Dead Watching, 1892, oil on burlap mounted on canvas, 45 11/16 x 53 in., Albright-Knox Art Gallery, Buffalo

-Knox Art Gallery, Buffalo-tahitian version of olympia, older figure in black robe, young girl naked on bed, can't tell if figure in black is spirit, expression on girls face shows terror , used wall color to show terror, female could be terrified of him, 15y/o lover?

Erich Heckel, Fränzi, 1911, woodcut, 8 15/16 x 16 ½ in.Museum of Modern Art, New York

- model about 10y/o, rapidly done somewhat messy, more authentic less calculated,sexualized look,raw quality in how its painted simplified flattened,

Pablo Picasso, Les Demoiselles d’Avignon, 1907, oil on canvas, 96 x 92 in.Museum of Modern Art, New York

-contemporary artist, avignon is street where many brothels are, worked with close friend didn't share art, some drapery one woman seated, fruit in the center at the bottom, earlier sketches had men in suits, final copy doesn't have it, angularity, painting leads up to picas idea of cubism, distorted faces 2 faces based on iberian sculpture, other faces are based on african masks, unknown where he had access to masks, one mask associated with exorcism, could be an exorcism painting worried about syphillus , women seen as aggressive

Paula Modersohn-Becker, Self-portrait with Amber Necklace, 1906, oil on canvas, Kunsthalle, Bremen

-struggled with being artist and a woman, paints herself in flowers instead of art

Egon Schiele, Male Nude (Self-Portrait) I, 1912, Sema lithograph, edition of 215, 17 11/16 x 15 11/16 in., The Robert Gore Rifkind Center for German Expressionist Studies, Los Angeles County Museum of Art, Los Angeles17.8

Robert Mapplethorpe, Self-Portrait with Whip, in the X portfolio, 1978, selenium-toned gelatin silver print, 7 ½ x 7 ½ in.J. Paul Getty Trust and Los Angeles County Museum of Art, Los Angeles17.22

Sally Mann, The Perfect Tomato, 1990, gelatin silver print, 18 5/16 x 23 1/16 in.The Solomon R. Guggenheim Foundation, New York

-attempted to be sexualized due to tomato, tomato is the only thing in focus

Robert Mapplethorpe, Jesse McBride, 1976, gelatin silver print, 20 x 16 in.The Solomon R. Guggenheim Foundation, New York

-criticized as childish pornography

Yves Klein, Anthropometries of the Blue Period, photograph by Shunk-Kender from 1960 performance at the International Gallery of Contemporary Art, ParisYves Klein Archive, Paris

-deals with measurement of human body, yves paint bleu, models paint body pressed against paper, directing performance guides models, got idea from judo, picks fashion models, critiqued for directing beautiful woman, woman bodies as an object for male gaze, others say its very spiritual

Carolee Schneemann, Meat Joy, photographs from 1964 performances at the Judson Memorial Church, New York, and the Festival of Free Expression, Paris

-festival for free expression, inspired by beat poet michael, dancers doing choreography raw meat and paint, idea was liberate the body, orgy like, started out making films

Marina Abramovic and Ulay, Imponderabilia, photographs from 1977 performance at Galleria Communale d’Arte Moderna, Bologna

--standing in doorway at gallery space stripped down, had to pass through doorway to get to gallery, people made different choices who they turned towards

Bill Viola, The Messenger, 1996, single-channel video and sound installation, continuous loop, 25 x 30 x 32 ft., approx. 25 min.Solomon R. Guggenheim Museum, New York18.23, 24-mounted in doorway intended to be seen across whole cathedral,

-shot with 300 frames for second extremely slowed down, man submerged rises to surface takes breath and then is resubmverged, looped, man is completely nude, displayed in church caused some criticism, didn't like nudity in church, compared to angelic figure

Kara Walker, A Subtlety, or the Marvelous Sugar Baby, 2014, resin and sugar, 40 ft. high, installation at Domino Sugar Factory, Brooklyn, NY18.26 (see eCommons announcement for video link about the making of this installation)-not separate from space it was commissioned for, space is part of art work,melting molasses weeping,

--covered in sugar, reeks of refined sugar,chose egyptian sphinx woman kneeling power struggle exposing absurdity of conceptions of race